Based on Edith M. Hull’s novel of the same name, The Sheik doesn’t really offer much in the way of a story. Sheik Ahmed Ben Hassan (Valentino) Kidnaps Lady Diana Mayo (Agnes Ayers) and takes her to his spacious tent palace. Though Lady Diana is attracted to the Sheik, she resists his sexual advances. The Sheik’s old school friend, Raoul de Saint Herbert (Adolphe Menjou) eventually convinces him to let Diana go free. Unfortunately for Diana, she quickly finds herself in the clutches of Omair (Walter Long), a villainous desert bandit, who threatens her with a fate worse than death. Given the circumstances, it’s no surprise that she realizes she’s got deep feelings for the Sheik. Mobilizing his army, the Sheik, and his friends get to her just in time, before she attempts suicide. The Sheik is injured in the battle, but Diana nurses him back to health, and declares her love for him.
The ending is a clear sign of the times. With anti-miscegenation laws in effect all over the country, Hollywood wasn’t going to show a white woman with an Arabic man. You’ll notice the Sheik and Diana never so much as kiss, despite his repeated attempts at seduction. It’s only after we learn that the Sheik is really of European descent, that they’re free to do as they wish.
As a narrative, The Sheik should probably be considered strictly mediocre. Valentino and most of his co-star’s act in a manner that would be considered over-the-top by today’s standards. However, it’s one of those films that should be seen by film buffs and film historians. A classic that made Rudolph Valentino an international star, The Sheik also showed a certain kind of independent woman. One who turned away potential suitors in favor of the uncertainty inherent in adventure.
Regarding The Sheik’s restoration and transfer, Paramount has provided the following information:
The Sheik restoration employed modern technology so viewers can experience the original beauty of this monumental silent film. Since original negatives for silent films rarely exist, Paramount searched the world for the best elements and used a print and an intermediate element called a fine grain. One source of the film yielded better results for image quality, another for intertitles. One of the elements was “stretch-printed” and had to be adjusted digitally during the restoration process. In the silent era there was no standard frame rate, so stretch printing was done to show silent films at 24 frames per second. In addition, tints and tones were digitally applied, guided by an original continuity script from the Paramount archive. The result is the best picture quality The Sheik has had since it was originally shown in theaters 100 years ago.
Given the advanced age of the film, Paramount has done an excellent job. While the image is grainy, but that that just adds to the depth and integrity of the film. Blacks are surprisingly deep, offering a nice level of detail throughout. The sepia tones give the film a consistent look. Occasionally, colors skew toward lavender but nice saturation levels are maintained. Like everything about the image, skin tones maintain a sepia appearance. There are no noticeable artifacts.
There is no real audio track attached given that The Sheik is a silent film. Music is provided in 2.0 Dolby TrueHD. Composed by Roger Bellon, the score provides a nice accompaniment to the film.
French SDH subtitles are available.
The first pressing comes with a slipcover that opens out to reveal the original poster art for the film. A digital copy is also available. The disc includes a signal special feature in which the popularity of the film is discussed:
- Desert Heat: 100 Years with The Sheik (HD, 12:21)
