User Reviews

I seldom see this title mentioned on lists of great silent films, and perhaps it doesn't belong in the same heady company with the works of Murnau and Eisenstein, but surely The Eagle belongs on anyone's list of the most entertaining movies made during the silent era. It is first-rate escapism, a real "movie-movie" that can hold its own with the best swashbuckling sagas of Douglas Fairbanks and Errol Flynn, and that counts for a lot in my book. It's also one of the best movies in which Rudolph Valentino appeared (along with his next film, The Son of the Sheik, which unfortunately proved to be his last), or in any case it's one that holds up well for modern viewers, offering just the right blend of action, suspense, comedy, and romance, all presented at a brisk tempo. Valentino rapidly improved as an actor during his brief career, so in these final appearances there is no trace of the nostril-flaring histrionics on display in some of his early performances. At the pinnacle of his career as a movie star, Valentino is at the top of his game in this action hero role, charismatic and self-assured, but displaying just a touch of self-mockery to keep things in perspective.

Rudy plays a Cossack officer, Lieutenant Dubrovsky, stationed in the court of Catherine the Great. (The Czarina is played by Louise Dresser in a brief but memorable turn.) Dubrovsky catches the Czarina's eye when he manages to regain control of a runaway carriage just outside the palace gates, and in this way he also meets a beautiful young lady named Mascha (Vilma Banky), with whom he becomes involved. The plot kicks into gear when Dubrovsky rejects the Czarina's advances; soon afterward, he assumes the persona of the Black Eagle, an outlaw devoted to avenging his father, whose lands have been appropriated by an evil count named Kyrilla -- who just happens to be Mascha's father. Valentino's character in this film is often described as a "Russian Robin Hood," but the parallel with Zorro is stronger, especially when he manages to operate under the very nose of his arch enemy in the guise of a foppish French tutor, Monsieur Le Blanc. Much of the film's humor comes from these scenes, but when the time comes for action The Black Eagle is all business, and Valentino proves himself as dashing and gallant as Douglas Fairbanks while cutting a more romantic figure.

The Eagle points up the importance of silence in Valentino's career, for while he was said to have a pleasant voice it might have been difficult to accept him as a Russian officer in a talkie; let's face it, Rodolfo Alfonzo Raffaele Pierre Filibert Guglielmi di Valentino d'Antonguolla would have a hard time persuading anyone of his Russian heritage if we could hear him speak. Leading lady Vilma Banky, who was as beautiful as Rudy was handsome, spoke limited English with such a thick Hungarian accent that talkies ended her American film career, so this movie could not have worked so well with the same cast as a talkie, even if Valentino had survived into the 1930s. And besides, the highly stylized 19th century "Russia" of this film is very much a Hollywood fantasy concoction anyhow, the sort of thing that worked best in silent cinema. One of my favorite aspects of The Eagle is the elaborate Art Deco design scheme by William Cameron Menzies, which at times almost suggests the world of Dr. Seuss (a bit of an exaggeration, perhaps, but not by much). Combine Menzies' sets with the stylish cinematography of George Barnes, spice the mix with George Marion Jr.'s witty title cards, top it off with the slyly tongue-in-cheek performances, and you have all the ingredients for a cinematic feast.

In sum, I feel it's the comic elements of The Eagle that make it such a fun film, the sense that the filmmakers are discreetly giving us a little wink to let us know they're well aware this is all cotton candy. Speaking of comedy, the cast features a couple of Keystone veterans in supporting roles: Mack Swain, who was so memorable as the delusional prospector in Chaplin's The Gold Rush, has a brief uncredited bit as an inn-keeper who misunderstands Monsieur Le Blanc's needs; and veteran character actor George Nichols, who plays the corrupt judge, directed a few of Chaplin's earliest comedies, including The Star Boarder and Cruel, Cruel Love. Maybe it's the Keystone pedigree that boosts the comedy content here, but whatever the case this film stands as a highly enjoyable example of what Hollywood craftsmen were capable of when the silent cinema was at its peak.

Enjoyable adaptation of Russian novel for American screen with well-polished Rudolf Valentino as the former Czarist officer who extracts revenge as the "Black Eagle" against the landowner who cheated his father. Valentino performs macho acts and is not cast only as a ladies man. Excellent directing by Clarence Brown, good re-writing to fit an American audience, some tricky camera shots, and wonderful sets add to the enjoyment of this very good film. Vilma Banky sizzles as the beautiful romantic interest that makes the erstwhile thief select love over vengeance. This is the next to the last time that we see Valentino. Gary Cooper (uncredited) appears as one of the masked cossacks -- you will never find him. Recommended.

...mix of masked-hero action and romantic comedy from director Clarence Brown and based on a novel by Pushkin. Young Lt. Vladimir Doubrovsky (Rudolph Valentino) of the Russian Army is forced to go on the run after spurning the romantic advances of the Czarina (Louise Dresser). Once back in his home village, Doubrovsky learns that local baron Kyrilla (James Marcus) has been cheating the people out of their land, money and possessions, including Doubrovsky's own father, who died of despair at his losses. Doubrovsky vows revenge, and so adopts the guise of the Black Eagle, a Zorro-like masked bandit-hero who, along with his band of cohorts, makes life miserable for Kyrilla. However, when Kyrilla's beautiful daughter Mascha (Vilma Banky) comes home from abroad, Doubrovsky is smitten, and so he impersonates her new personal tutor to infiltrate Kyrilla's estate and to woo Mascha. Also featuring Albert Conti, George Nichols, Carrie Clark Ward, Gary Cooper as a masked extra, and Gustav von Seyffertitz.

Valentino is good here, although I wish there had been more action scenes with him as the Black Eagle. Dresser is fun as the lascivious Czarina. William Cameron Menzies provided the gorgeous production design, and director Brown dazzles with a "how'd they do that?" tracking shot over a sumptuous banquet table. My only real complaint would be that the movie can't seem to decide what it wants to be, and therefore sells both efforts a bit short. This was only my second Valentino film (after 1922's Blood and Sand), and it would prove to be his next-to-last film. It was a big hit for him after a run of disappointments, and signaled a big comeback which would be cut short after one more film and his death at age 31 in 1926.

This was the first silent film I'd ever seen, and it immediately captivated me. All the acting is incredible, and Valentino's allure is breathtaking. The story is adventurous and interesting and even humorous at times. I recommend it to anyone interested in seeing a silent film or anyone just looking to see some classic entertainment.

When the horses of a coach with two ladies speed after a shot, the Czarina Catherine II (Louise Dresser) sees the young Lieutenant Vladimir Dubrovsky (Rudolph Valentino) rescuing the ladies. She invites Dubrovsky to have dinner with her, but he is sexually harassed by the czarina and flees from the palace. He receives a letter from his father telling that he had been evicted from his lands by the corrupt Kyrilla Troekouroff (James Marcus). Meanwhile the czarina issues an arrest warrant authorizing the arrest of Dubrovsky dead or alive. Dubrovsky heads to his home town, but his father dies and he promises revenge against Kyrilla. He wears a mask and is called "The Black Eagle", and leads a group of unsatisfied men to fight against Kyrilla, stealing from the riches to deliver to the poor. However, when he meets Kyrilla's daughter Miss Mascha Troekouroff (Vilma Banky), Dubrovsky falls in love with her. Dubrovsky needs to rethink and choose between "eye for an eye and tooth for a tooth" and his love for Mascha.

"The Eagle" is a melodramatic and romantic silent movie with a hero that is a combination of Zorro and Robin Hood. The plot is entertaining and well constructed but it is funny to see, for example, Dubrovsky forgetting his friends and his promise to kill the man that stole the lands of his father that died after just because he is in love with Kyrilla's daughter. My vote is seven.

Title (Brazil): "A Águia" ("The Eagle")

The Eagle (1925) : Brief Review -

A Classic tale of Dubrovsky's Zorro/Robinhood in great silent feature. Haven't everybody seen the Robinhood tale once in the life or even heard of it. From Michael Curtiz's classic film "The Adventure Of Robinhood" (1938) to any modern adaption of the same story in Hollywood and bollywood we have all loved and treasured this timeless story. Now if you would like to watch the same in Silent feature then Clarence Brown's The Eagle is highly recommendable. A wanted Russian lieutenant becomes a masked vigilante seeking vengeance upon the man who stole his family's land, only to fall for his charming daughter and then happy ending as expected. Well, there is nothing much wrong about the novel except for one thing that it turns that people's movement very personalized after sometime. I loved how they referred to it in the film by saying, "Revenge is Sweet but sometimes a girl sweeter". At this point we all knew that what's gonna be the climax and therefore this wanted to be revenge saga loses one slight if its impact. I would have loved to see it continuing the same Revenge and then having love triumph at the end like we saw in Michael Curtiz's film. But overall it's fine treatment given to the novel and pretty enjoyable too. Rudolph Valentino is at his prime form as The Mask Man and Vilma Banky looks cute as her love interest. Hoffman and Davis gave a brilliant background score to this 80 minutes ride even though it lacks certain portion of adventure and action. The Eagle hasn't made it to many of all time lists for some reasons and I would agree with it because Today i have experienced it myself but believe me as Silent feature we couldn't have asked for better version than this in that era. Brown is terrific as a director while riding the horses and i wouldn't blame him for anything. He tried his best and gave possibly the best version of timeless classic which is surely worth watching.

RATING - 7/10*

By - #samthebestest

This is an astonishing film, breathtakingly shot by George Barnes, which reveals how powerful the silent film could be. Like many silents this film is not about its plot but about the minutia of human behaviour and emotion. The moment when Valentino touches Banky's neck you can feel her thrill - her eyes moisten with passion. This is the kind of moment that the talkies had trouble with - words spoil the ecstasy of first touch - as many of the silent screen's great lovers found when they entered talkies. But Valentino did not live to make a talkie - and his legend is probably grateful.

He is exceptional in this period romp through the Russia of Catherine the Great. Vilma Banky matches him superbly - she has the ethereal beauty of Garbo. James Marcus is fun as the baddie, but Louise Dresser is brilliant as Catherine the Great. The scene where she attempts to "take advantage" of Valentino is extraordinary - and a great step forward for female liberation.

Combine these performances with the genius of Clarence Brown, the costumes of Adrian (which are intentionally not quite of the right period having a distinctive 1920's feel), and the production design of William Cameron Menzies and you have a masterpiece. It will surprise you at every turn, and the tracking shots are truly magnificent - especially that banquet scene! Don't miss it - and if you get the version with Carl Davis' score you are in for a real treat.

A wanted Russian lieutenant becomes a masked vigilante seeking vengeance upon the man who stole his family's land, only to fall for his charming daughter.

The character of Black Eagle, interestingly enough, does not exist in the original Pushkin novel and was inspired by the performance of Douglas Fairbanks as Zorro in "The Mark of Zorro". ("The Eagle" is also notable in cinematic history for its famous extended tracking shot of the food-laden table in the banquet scene.) This is the sort of film that made Valentino famous, because who doesn't want to see him as a sort of swash-buckling hero? Heck, he buckles the swash with the best of them.

Worried that Valentino's screen image had become effete after the somewhat arty pictures he had made with his now estranged wife, his studio found him a part that was 100% male but would still include the lovemaking his female audience loved (it turned out the studio chose well-- going by fan mail, this movie proved equally popular with men and women).

Valentino's role of Vladimir Dubrowski in "The Eagle,"--a sort of Cossack Robin Hood--was obviously influenced by the Douglas Fairbanks movies, but it's no pallid rip-off. Whereas Fairbanks, much like a male lead in a Spielberg film, tends to keep the hugging and kissing to a minimum, Valentino, although he can handle a sword very skilfully, makes the film his own by balancing the swashbuckling with plenty of wooing. He also shows that he was not above poking fun at his persona as a lady killer, as when besotted by the female lead he overloads his soup with pepper (the die hard Valentino haters always overlook this self depreciating side to his performances).

The other performers are strong too—James Marcus is repugnant as the corrupt and cowardly aristocrat Kyrilla who has ruined Vladimir's father (but somehow pathetic in his final scenes when he realizes he has lost his daughter); Louise Dresser is amusing and touching as the post menopausal and horny czarina who becomes murderous when Dubrowski resists her advances, and Vilma Banky is sweet but assertive as the best romantic heroines are, and very affecting in the scenes in which she is torn between her attraction to Dubrowski and her filial love for her unworthy father.

The film also sets itself apart from the Fairbanks sort of swashbuckling epic (in which the hero is usually content to mete out punishment to wrongdoers) by raising the question that that maybe vengeance should be left to God rather than men and that as Mascha points out to Vladimir a life totally motivated by hate is a wasted one. In fact the script is so much on the side of forgiveness that even the ruthless Czarina, after a last minute change of heart about Vladimir's execution, is allowed a happy ending--and a more age appropriate suitor.

All in all, a very fine comeback vehicle for Valentino—but how sad that it proved to be his penultimate film.

Handsome Russian officer Rudolph Valentino (as Vladimir Dubrovsky) saves lovely damsel in distress Vilma Bánky (as Mascha Troekouroff) when her stagecoach goes awry. This helps earn him an audience with Czarina Louise Dresser (as Catherine II). Amorous Ms. Dresser decides to lure Mr. Valentino into her boudoir; but, the virtue loving Cossack spurns her advances. After Valentino escapes Dresser's clutches, she makes him a more criminally "Wanted" man. Soon, Valentino is posing as a French tutor in the home of his father's enemy, James Marcus (as Kyrilla Troekouroff); there, he falls in love with Ms. Bánky, whom he had rescued earlier.

Valentino becomes a black-masked Zorro-like vigilante known as "The Black Eagle" to strike fear into the heart of bad guys like Mr. Marcus.

This is a good-looking film; George Barnes (photography), Clarence Brown (direction), George Marion Jr. (title cards), and William Cameron Menzies (sets) excel. Dresser is a pleasure to watch; Valentino is charming and effective. "The Eagle" is a very formulaic movie - which worked out very well for Valentino. Due, in large part, to the film's popularity at the box office, Rudolph Valentino became the #1 Box Office Star in the United States (overtaking Norma Talmadge). Since he died before 1926 ended, Valentino left the stage on top.

******* The Eagle (11/8/25) Clarence Brown ~ Rudolph Valentino, Vilma Bánky, Louise Dresser

I saw "The Eagle" a few years ago with a sound effects track and very appropriate Tchaikovsky orchestrial music. This beautiful addition set the stage for Czarina's imperial Russia. Mr. Valentino's duel role as Lieutenant of the imperial guard and eventually as THE BLACK EAGLE out for revenge on behalf of his father's family depossession by a crooked neighbor and judge, plans just do. The crooked land owner has a beautiful daughter who defects his ultimate goal. Happy Ending. Clarence Brown, director, helped make "The Eagle" a good movie.

Charles Farenga

Russian lieutenant Vladimir Dubrovsky (Rudolph Valentino) vows vengeance against a man named Kyrilla (James A. Marcus) after Kyrilla used treachery to steal Dubrovsky land, which left his father a dying, ruined man. Eventually hiding his face under a mask and assuming the identity "The Black Eagle", he and his band of followers set out to bring down Kyrilla. However Dubrovsky has even more reason to hide his face because having offended the Czarina of Russia by spurning her affections, she has issued a warrant for his arrest dead or alive for desertion from his regiment. Further complicating Dubrovsky's plans is he unexpectedly winds up falling in love with Kyrilla's daughter Mascha (Vilma Bánky).

Well it's certainly unpredictable, you have to say that. This one certainly has plenty of twists and turns to keep you guessing what might befall our hero next. Valentino it cannot be denied is excellent in the lead role as an heroic bandit with irresistible charm. This does deliver romance and some tense moments for our ill-fated lovers. The problem here is that really "The Black Eagle" never quite seems to deliver the goods when it comes to action, his most impressive moments firing a shot at a key moment and as expected coming to the rescue of his damsel in distress time and time again. Also the ending doesn't quite seem to ring true given previously established events in our story. Still certainly not bad of its type, just a straightforward romantic adventure, almost fairytale-like, in a fashion.

Louise Dresser is super as Catherine the Great who takes a bit of a shine to the handsome "Lieut. Dubrovsky" (Rudolph Valentino); but he doesn't fancy that idea very much and as thy say -"hell hath no fury...''' so before long she has issued a warrant for his arrest and he is on the run. He heads back to his family property only to find that that has been appropriated by the wicked "Kyrilla" (James Marcus) so our hero dons a black mask and in his best "Zorro Hood" style, becomes "The Black Eagle" and sets about righting these wrongs. Of course, there's some love interest - he falls for the beautiful "Mascha" (Vilma Bánky) who just happens to be the daughter of his nemesis - so he soon finds that he has some tough choices to make. Certainly, the plot is an hybrid of a few other stories, but every culture has their own variation on these upstanding, freedom fighters and Valentino cuts a dashing figure as this Russian one. The imagery is cracking, with plenty of action scenes and the romance smoulders along nicely before the, admittedly, pretty predictable ending. It's probably my favourite outing for this star - less posing and flouncing around, more acting and engagement with the plot and the audience - with even a little fun thrown in, too. Great stuff!

THE EAGLE (United Artists, 1925), directed by Clarence Brown, is a worthy adventure story starring the legendary Rudolph Valentino (1895-1926) in one of his better silent films set in imperial Russia under the reign of Catherine II.

Valentino plays Vladimir Dubrovsky, a handsome young lieutenant in her majesty's imperial guard, who becomes a hero of the hour when he rescues a runaway carriage with the beautiful Mascha Troekouroff (Vilma Banky) and her maiden Aunt Aurelia (Carrie Clark Ward) as the occupants, and returning the wandering horse to its titled owner, Catherine II, the Czarina (Louise Dresser). Impressed by the young Cossack, the Czarina invites Dubrovsky over to dine with her. Realizing that she wants to add him to her one of many lovers, he rejects her advances. Later when Dubrovsky comes to visit his father (Spottiswoode Aiken), he arrives only to find that he has been robbed of his estate by Kyrilla (James Marcus), a vicious landowner, and left to die in a peasant's hut. Wanting to avenge his father's death, Dubrovsky abandons his military duties by assuming a bandit's disguise, forming a group of followers in his cause, and becoming know as "The Black Eagle." While becoming the Russian "Robin Hood," there is a 5,000 rubles reward for the capture of Vladimir Dubrovsky for desertion by the Czarina. In order to gain entrance to Kyrilla's home, Dubrovsky assumes the identity of Monsieur LeBlanc, a French tutor, and bides his time to revenge himself on the man responsible for his father's death. However, things start to change when he meets the beautiful Mascha once again (first as the lieutenant who rescues her from the runaway carriage, and second posing as The Black Eagle who robs her and her aunt of their worthy possessions), who happens to be Kyrilla's daughter.

THE EAGLE is old-fashioned screen entertainment that borrows from the combination of recent successes to THE MARK OF ZORRO (1920) and ROBIN HOOD (1922) both starring Douglas Fairbanks, but minus the swashbuckling. As with Fairbanks, THE EAGLE is fast-paced, simply tongue and cheek, including some witty title readings such as "Revenge is sweet, but sometimes a girl is sweeter," or a memorable line in which The Eagle goes by, "The Eagle does not war against women." Along with some authentic dress designs, compliments of Adrian, this production also includes expensive set designs by William Cameron Menzies that help make THE EAGLE capture the flavor of old imperial Russia. Clarence Brown direction is first rate, featuring fine camera style tracking over the long dinner table during a social function dinner scene at the home of Kyrilla.

Also featured in the cast are Albert Conti as Captain Kuschka; George Nichols as The Judge; and Michael Pleschkoff as the Captain of the Cossack Guard. As for Louise Dresser, with little screen time, first during the early portion of the story and again during the film's final ten minutes, she makes an very impressive Catherine II in her scene stealing performance. Because Valentino and the Hungarian-born Vilma Banky worked so well together in THE EAGLE, they were reunited again in THE SON OF THE SHEIK (1926). A new love team might have emerged with these two big hits of the day, but sadly, after the release of their second pairing, Valentino stunned the world when he died at the age of 31. Over the next few years, THE EAGLE and THE SON OF THE SHEIK would play as a double bill whenever revived in theaters.

THE EAGLE became one of twelve selected films presented during the summer months on public television's weekly series of "The Silent Years" (1975) as hosted by Lillian Gish, with a theater organ score by Lee Erwin from the Paul Killiam collection, the same print used when aired on cable television's Turner Classic Movies. The popularity of THE EAGLE assured its availability during the early years of video cassettes. In a very hard to locate video, distributed as early as 1980 (manufacturer unknown), the copy featured a fine 1920s style Movietone score consisting of classical Russian symphonies that were used for latter theatrical reissues, along with original opening movie titles. In later years, various other prints became available, such as Video Yesteryear with an accu-speed copy longer than the standard 74 minutes; the Blackhawk (later Republic Pictures) video with the use of the print used in "The Silent Years," as well as a video labeled "Legendary Silents" with the Thames orchestral score conducted by Carl Davis. It is also available on DVD. Whichever and however THE EAGLE is presented, its availability does rest assure on a new generation of audiences and rediscovery of the legend of Valentino. (***)

During the last six months or so, I have seen at least a dozen of Valentino's films--probably more. And apart from THE FOUR HORSEMEN OF THE APOCALPSE, this is probably his best film among them. Unlike THE SHEIK and SON OF THE SHEIK, this film seemed to have aged pretty well and I enjoyed the film immensely. In so many ways, the film made Valentino seem less like a prissy male lead, but a more Errol Flynn or Douglas Fairbanks-like character--handsome but rugged and manly. He played a character much like Robin Hood, but instead of stealing from the rich, he and his band of kin attacked the forces of an evil Russian family that has stripped them of their land and fortune and he nicknames himself "The Eagle". And, while Valentino had every reason to want to kill the patriarch of this clan, not unexpectedly for a Valentino film, the evil man has a sweet and beautiful daughter--who is destined to fall the Eagle. All-in-all, a nice blending of romance, adventure and sentiment into a timeless movie that is still very watchable today. Good stuff.

This is a very good period melodrama that also features one of Rudolph Valentino's best roles. The Robin Hood-like story combines drama, excitement, revenge, romance, and more in a well-crafted movie that is entertaining to watch. Vilma Banky and Louise Dresser head up a good supporting cast that works well with Valentino.

The story setup has Valentino's character on the run from an angry Czarina, even as he is cheated out of his family possessions by a dishonest nobleman. He turns outlaw to avenge his family name, only to have everything complicated by romance. It's a good story, though a largely familiar one, and the cast and director Clarence Brown make it enjoyable.

It's a good role for Valentino because it plays to his strengths and doesn't ask him to do much more. Banky is sympathetic as the daughter of the crooked Kyrilla, and Dresser does a very good job as Empress Catherine, bringing out her personal desires and her ruthless use of power. Albert Conti and James Marcus also give good performances, while Brown keeps things moving at a good pace and tells the story effectively, with an occasional lighter moment to keep things from being taken too seriously. "The Eagle" combines a good story, cast, and production values, and it works quite well.

I really enjoyed watching this film after a gap of 15 years or so. The version I saw before was the Photoplay version, restored for UK Channel 4 and video release in 1986, this time it was an InstantVision DVD I picked up for £1 in 2004. It sure ain't got Carl Davis's score! The music is OK and it accidentally works for much of the film, but it repeats in 13 minute cycles come what may in the 72 on the screen. The fact that it is so apparent is the only annoying thing about the DVD production, and only detracts slightly from the film itself - you can play it silent!

It's a tale similar to Zorro in sex-mad Catherine the Great's Russia/ Hollywood, with the Vengeance of the Black Eagle ultimately diffused by Love. The camera treats Valentino and Banky well, two young and beautiful people caught in time for all time. Good points: The scene with the banquet table groaning (under the camera apparatus?); Valentino massaging Banky's neck in an erotic moment; the splendidly atmospheric marriage in the prison cell. Bad points: Occasional hamminess and the overpowering feeling that we're not in Russia.

But all in all a most impressive penultimate film for Valentino, and one I hope to view again with a more sympathetic soundtrack!

This isn't the best Valentino; for this viewer, that would be "Son of the Sheik."

"The Eagle"'s plot is a mess. The hero is not given a chance to use his own wits or cunning or skill or strength to rescue himself. Rather, he is rescued by a moment of sentiment in a person in power. He has vowed to avenge his father and depose Kyrilla, but he never does. While "The Sheik" movies worked to create atmosphere, showing how Valentino and his women were far, far away, in a world surrounded by sand dunes, "The Eagle" interior shots do a fair enough job of creating a convincing czarist Russia, but its exterior shots are obviously California. There's never any snow, which could have made this world as exotic and distant as Arabia's sands. But this *is* a Valentino movie, and that is a very good thing. He was wonderful, unique, and he made too few movies. So, you watch it for him. Vilma Banky is very fetching here, with the intelligence and spunk of an "It-Happened-One-Night"-era Claudette Colbert. The shot of the heavily laden banquet table is something to see; the special arrangements that had to be made for the camera for that shot are something to ponder. All in all enjoyable, but not the very best Valentino.

I saw "The Eagle" made in 1925 a few years back on video from Nostalgia cable. It had a sound effects addition and a beautiful Tchaikovsky orchestral score by Michael Hoffman. Mr. Valentino played the first of his duel role career as a fearless lieutenant in the imperial Czarina home guard. When Valentino learns of his father's swindle by a crooked neighbor and lawyer, he rushes home to find his father dying and estate forfeitured. He seeks revenge as THE BLACK Eagle, sort of Robin Hood. The crooked neighbor has a lovely daughter who comes between Valentino carrying out his intentions. Will THE BLACK EAGLE EXTRACT his due? The ending straightens out any ill intentions.

Charles Farenga

In Hollywood, some relationships are better off not happening, especially when the marriage affects one of the spouse's livelihood. That is exactly what happened to actor Rudolph Valentino when he married film costume designer Natacha Rambova in a quickie Mexican marriage after making 1922's "Blood and Sand." Bigamy charges soon followed against the couple, resulting in a messy court case.

Once officially married later on, the two shared different views on marriage. Valentino was old school and saw Rambova as a traditional housewife and mother, while the talented designer felt she was the perfect person to be the actor's film manager. She arranged for Valentino to appear in a string of poorly-received movies, sending the once female heart-throb's popularity sinking faster than the Titanic. United Artists' owners Charlie Chaplin and Douglas Fairbanks approached Valentino after he was finishing a nationwide road-dance tour with his wife, and was offered a fairly lucrative contract with one stipulation: Rambova had to be completely removed from the productions. The actor took up UA's offer, causing Rambova to lose her temper, which resulted in a split in their marriage.

Once Rambova was out of the picture, Valentino's career soared with the making of November 1925's "The Eagle." The film inserted a dose of masculinity into the actor's screen persona, melding a Zorro-like swordsman with the romantic figure female fans swooned over. "The Eagle," adapted from Alexander Pushkin's 1841 novel 'Dubrovsky," combined the tale of an officer of the Imperial Guard of the Russian Army and his rebuff of the man-hungry Czarina, with a fictitious adventure story of him becoming a good-intentioned outlaw while hiding from the Czarina's troops. He shields his face with a black mask to avenge the confiscation of his father's property and death at the hands of a neighboring nobleman.

Valentino's personality oozes out from the big screen in "The Eagle," something that was practically hidden in the Rambova-managed films. In the capable hands of veteran director Clarence Brown, Valentino's athleticism is on full display with his horse riding expertise and swift swordsmanship. One unique tracking sequence famously created by Brown occurs during the nobleman's big banquet feast. The director situates his camera just above the long table filled with veracious eaters slobbering away. From the head of the table, the camera slowly tracks smoothly to the other end, hovering a couple feet over the food and outreaching arms of the diners. Never had cinema witnessed such a sophisticated shot like that before.

"The Eagle's" success was a boon for Valentino, seeing his highest box office returns in three years. The actor soon filed for divorce with Rambova. The future looked promising for Valentino, whose movie "The Eagle" was nominated for American Film Institute's 100 Most Thrilling Motion Pictures as well as being listed in "1001 Movies You Must See Before You Die."

The set design, decoration, and filming locations are arresting right away, and costume design is somehow even more impressive. There's a clear effort from the very beginning to entrance the audience following a period of drought in Rudolph Valentino's career. In that aim 'The eagle' handily succeeds, and it keeps us locked in for the remainder of its runtime. This is a wonderful movie!

There's instant captivating poise in the performances, those of the chief cast especially. Louise Dresser bears an unexpected and commanding presence as Catherine the Great. James A. Marcus, depicting antagonist Kyrilla, carries a boorish yet welcoming joviality that belies the dark deeds of his power. Valentino is self-assured and resolute in his portrayal of Lieutenant Dubrovsky, demonstrating a range, force of personality, and magnetism that was somewhat lacking in the features immediately preceding this deservedly celebrated comeback. And Vilma Bánky, as Mascha, holds a quiet, steady confidence that matches her natural grace and charisma. None of this is to discount the supporting cast, though - everyone involved in the production is outstanding.

The plot moves quickly, and moods shift readily along with it. Early levity remains sprinkled throughout the picture, but mostly gives way to a dominant sense of adventure, deception, and drama. All the while, the cast manages these turns deftly, ably realizing their characters in every nuance of expression and body language. Between Clarence Brown's expert direction and the swell adapted screenplay of Hans Kraly and George Marion Jr., every scene is orchestrated with fine attention to detail, excitement, and entertainment, including no small number of extras. Brown captures some notably eye-catching shots, ensuring that the audience gets to see every minute aspect of his feature. Even the sparing dialogue, actualized with intertitles, is sharp and clever. Recognizing that 'The eagle' accordingly deviates from Alexander Pushkin's novel 'Dubrovsky,' I'm nonetheless intrigued to hopefully read it at some point.

I began watching with no particular foreknowledge or expectations, and have been utterly blown away. This is a superbly crafted film, and nearly 100 years later it still holds up. 'The eagle' digs its talons into us early, and remains dazzlingly thrilling and engaging through to the very end. Ensuing decades have produced many fine pictures, and this stands tall with the best of them. Whether or not one is a specific fan of Valentino or his costars, or the silent era broadly, I'd be terribly remiss not to recommend this fantastic title to all comers.

Bravo!