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!
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!