Though The Sheik (1921) and The Four Horsemen of the Apocalypse (1920) are more iconic, and The Son of the Sheik (1926) seems to be the fan favorite, I believe The Eagle (1925) is Rudolph Valentino's finest performance and all-around film. It does nothing to revolutionize film nor is it what you would call "high art," but TE is, in my opinion, a masterpiece of Hollywood escapism with its strong characters, great action, and sparkling comedy set in an art deco re-imagining of the Russia of Catherine the Great.Valentino has a reputation for being a nostril-flaring lover, but I find more often than not, he was usually subdued in his approach, though his characters obviously possess a lot of passion. He's in fantastic form here, juggling roles as an action hero, lover, and light comedian. He might have been sexier in his final film, The Son of the Sheik, but here, he gets to show off a lot more of his comedic talent, which was woefully underused in many of his films. Valentino also gains the perfect leading lady in the spirited and beautiful Vilma Banky. The two make a sexy and incredibly adorable on screen pair, and they would be paired again in The Son of the Sheik. The standout among the supporting cast is Louise Dresser as Catherine the Great. She wrings out a lot of power and comedy in her unfortunately brief part.Clarence Brown is, of course, excellent in the director's chair. He and the cinematographer Georges Barnes bring a lot of artistic touches to this lightest of films. The two scenes which always stand out for me cinematically are the tracking shot across the dinner table and the bit right after the condemned Valentino marries Banky in his cell. The two are embracing in medium shot, and the hands of the prison guard off to take Valentino to his execution and the priest who married the lovers emerge from off-screen to gently pry them apart.If you've never seen a silent film, then TE is a good place to start. Its story is simple but with just enough depth of character to keep you interested and the comedy is smart, not dated in the least. For veteran silent film fans, this is essential.

I would say that United Artists spared no expense in bringing Imperial Russia to Hollywood. The costumes and sets are superb. The story of a young officer who becomes an outlaw after spurning Catherine the Great is excellently portrayed.In my opinion, this is the best of Valentino's films (although I liked Blood and Sand too).I need not say that Valentino is excellent. Good too is Vilma Banky, one of the best silent actresses about at the time...BUT...Earlier in the film she makes the sign of the cross the Roman Catholic way, but later, during the wedding scene, she blesses herself the Russian Orthodox way.Oversight or conversion?

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.

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!