Falconeer Anybody who watches this biopic about the legendary matinée idol, Rudolph Valentino, would think director Ken Russell had a personal vendetta against the guy. Russell is known for his grotesque, often controversial films, and this movie is no exception. The clown-like portrayal of Valentino is as offensive as the image of the white serpent ripping the arm off Jesus on the cross, in "Lair of the White Worm." This film plays like the cheapest gossip rag on the newsstand. It would have the viewer believe that R. Valentino was a flaming, super-feminine homosexual. And there is no way that the real Valentino acted or behaved like this ridiculous portrayal at all. In fact it would have been impossible in the 1920's. We basically witness endless people calling Rudy a raging homosexual, right to his face. We have people mocking him and throwing powder puffs at him! Ken Russell takes an old, unfounded rumor about Rudolph's sexuality, and builds the entire film around that one thing. It's a true character assassination of a screen legend, that should offend every fan that sees it. Of course it was usually Ken Russell's ultimate goal to offend his audience. Nothing against Nureyev, but i truly hated his interpretation of Valentino. I don't know if the man was just too feminine in real life to hide it, or if he was simply directed to mock Rudy, a man who really hated the doubts cast upon his manhood. It angered him to no end, being of the macho Italian culture. If he could see this movie he would roll over in his grave; he would despise it that much. Attacking the image of someone who has been dead 85 years, is just cowardly and disgraceful. Watching one of Valentino's films it is clear that he was a somewhat sensitive, even shy man. Not the freakshow that you see in this 1977 film. Anyway, Nureyev, although a very handsome guy, bears no resemblance at all to Rudolph, so it is unclear why he was cast at all.If it wasn't for the movie's great production values, it would be a total waste of time; the sets and 1920's costumes are really amazing, and the film looks beautiful. In fact, technically speaking, this is a well-made film. It's just a shame that the director decided to make it an hysterical farce, and had everyone act like clowns. If not for those poor choices, this could have been great. I wondered why this has never been commercially released on DVD; now i understand.. There is, happily, another film on the life of Valentino, from 1951, that doesn't mock the actor, but takes the subject matter seriously. The actor also bears a haunting resemblance to Rudy as well. But this movie just made me angry and disgusted.

Armand Nureyev as Valentino. Leslie Caron in a nice role. and spirit of period. basic ingredients of a film. not astonishing. but almost seductive. new exercise of Ken Russell to present his world in usual colors and fragile shadows. a homage-film who desire give not exactly fragments of a life but skin of a myth. and the work is reasonable. this is the point to begin to discover the movie. sure, Nureyev was not the best option. but it is far to be a error his performance. only perfect example for good intentions and art to use his rare gift to cover the not inspired acting. a Russell film. this is the definition for this exotic, strange and nice movie.

moonspinner55 Ken Russell directed and co-authored this flagrantly useless biography of silent-screen legend Rudolph Valentino, adapted from the book "Valentino, an Intimate Exposé of The Sheik" by Brad Steiger and Chaw Mank; certainly the producers and actors associated with this film knew of Russell's penchant for the gross and bizarre, yet everyone seems to have jumped on-board blindfolded. It's a stiff and self-conscious circus, albeit one with an opulent 1920s production design. The essence of capturing a romantic hero of the movies on film has seldom come off (proof of that is the unsuccessful 1951 version of "Valentino" starring Anthony Dexter); here, Russian ballet star Rudolf Nureyev struggles with his Italian accent, struggles with his romantic partners, and really only looks comfortable with the dancing (an early scene featuring Valentino and Vaslav Nijinsky together on the dance floor is the picture's best moment). The impersonations of real-life players in Valentino's short life are grotesque caricatures, and the flashback conceit of female admirers recalling their associations with "The Sheik" after his premature demise is flabby and tiresome (and fails to pay off in any sort of narrative context). Ken Russell has never been very nimble with actors, but one expects more fireworks with this large cast (they are largely posed and wooden). Leslie Caron's nutty interpretation of famed actress Alla Nazimova gets some goosey laughs, and Seymour Cassel is always nice to have around as Valentino's manager, but the lead is too old for his role--and intensely uncharismatic on the screen. *1/2 from ****

lujack1 I was fortunate enough to have caught the last 2 hours! This film was engrossing from the time I tuned in, until it ended.His (Nureyev's) portrayal is timeless. The dance scenes are spellbinding. I've wanted to dance - only to pursue other career choices. His subtleties leave you wanting more.I was very moved by his performance. Michelle Phillips' performance ranks with some of the 'BEST' work seen from her! She deftly embodies a woman who will do whatever it takes to be with and support the man she loves! A rarity these days, she makes it look simple and exudes the on-screen confidence to do just that! Kudos, Michelle!I was deeply disturbed to learn that he (Nureyev) had died of AIDS. This disease is an equal opportunity destroyer. Just think of what he might have accomplished had he lived...Nureyev brings passion, delight, and a wide range of emotions to his performance - and should be delighted to know that his work in this piece is truly appreciated!I am now searching for an unedited copy of the film for my archives.