The Eagle (United Artists) (1925)

Advance Stories about Valentino and Picture VALENTINO COMEDY IN NEW PHOTOPLAY He Also Flees From Woman in “The Eagle”—Which Is Different “The Eagle,” Rudolph Valentino’s latest picture, represents a distinct de¬ parture for the star in at least three important respects, as all those who visit the ..... Theatre can testify. In the first place, he gets away from his familiar Latin characterization and plays a Russian. In the second, the picture has more comedy than any other in which the romantic star has appeared. Third, we see Valentino flee the amorous advances of a woman. Hans Kraly, who adapted the story from. Alexander Pushkin’s novel, has the knack of devising comedy situations, and Clarence Brown, the director, is taking full advantage of all such scenes in making Valentino’s first production for United Artists Corporation. The Russian characterization gives the star an opportunity to wear a Cos¬ sack uniform that is certainly as pic¬ turesque as anything he has ever donned. Later in the story he becomes a bandit and presents a dashing appearance in less polite garb. Perhaps the most startling departure is in the running away from the ap¬ proach of a woman—the Czarina, played by Louise Dresser, who has at last “found herself” in the pictures. The young officer brings a lot of trouble down on his head when he re¬ fuses her attention. So there is something new under the cinematic sun. VALENTINO STYLES PERPLEX BARBERS Now He Wears Sideburns in His New Picture “The Eagle” Speaking of evolution—as everybody does these days—there’s Rudolph Val¬ entino’s beard. It has undergone various changes in its path to perfection. You remember the howl the barbers raised when he returned from Europe last December with a crop of hair that covered his chin and his lip. The star had grown this for “The Hooded Falcon,” a Moorish picture which was postponed on account of a change of contracts. He next made “Cobra,” a modern story, in which, however, there is a short flashback to an earlier period. So Rudy trimmed the beard down to befit a Spanish don. Then he acquired a distinctly modern trim, in which the face was smooth shaven and the hair by the ear brought down to a sharp point. This became known as “the Cobra cut.” Next, Frederico Beltran-Masses, fam¬ ous Spanish painter, made a portrait of Rudy as a Moorish warrior. For this he grew the suggestion of a mustache and beard. In “The Eagle,” in which Rudy is now starring at the . The¬ atre, he appears as a Cossack officer. For this he grew sideburns, and they do say he looks handsomer than ever. Next! THRILLS APLENTY IN VALENTINO FILM “The Eagle” Also Abounds in Comedy Interwoven with Splendid Romance Entertainment is stressed in “The Eagle,” Rudolph Valentino’s latest pic¬ ture which will open at the. Theatre ...°. This Clarence Brown production for United Artists Corporation release is said to abound in thrills, comedy and romance. Re¬ ports from Hollywood state that Val¬ entino has turned out a picture that is decidedly different from his recent releases and one that rivals his “Four Horsemen” in amusement. The romantic star is seen for the first time as a Russian—in garb more picturesque than any he has previously worn. His first appearance is as a Cossack lieutenant, then as the bandit who became known as the Eagle be¬ cause of his swift, mysterious move¬ ments. The star is supported by a large and distinguished cast, including Vilma Banky, the Hungarian blonde whose beauty and ability have caused even blase Hollywood to gasp; and Louise Dresser, for many years a star of mus¬ ical comedy. Valentino is quoted as saying that Clarence Brown, his new director, is the best he has ever had. Brown has been going from one triumph to an¬ other recently, having directed such suc¬ cesses as “Smouldering Fires,” “The Goose Woman” and “The Acquittal.” The action of the story takes place in Imperial Russia before the revolu¬ tion. The romance starts in a brilliant royal setting and then goes to the Rus¬ sian countryside. Hans Kraly wrote the screen play, basing it on “Dubrov¬ sky,” a classic of Russian literature by Alexander Pushkin, “the Shakespeare of Russia.” REAL CZAR’S PALACE IN VALENTINO MOVIE The Kremlin at Moscow Repro duced for “The Eagle,” Star’s New Film The Kremlin, palace of the former Russian Czars in Moscow, was built for “The Eagle,” Rudolph Valentino’s first United Artists Corporation star¬ ring vehicle, which is taxing the ca¬ pacity of the .Theatre. The magnificent setting occupies an outstanding position at Valentino’s studio among the various other ectypes of world-famous streets and buildings. It was designed by William Cameron Menzies, who was art director on “The Thief of Bagdad.” The real Kremlin was battered up considerably during the Bolshevik rev¬ olution, but has now been restored, ac¬ cording to Michael Pleschkoff, former general in the Russian army, who acted as technical advisor for “The Eagle.” Striking uniforms, Cossack soldiers, the Czarina and her court ladies com¬ bine to make this episode of the pic¬ ture one of spectacular brilliance. Val¬ entino appears as a young Cossack of¬ ficer, and he never looked more dash¬ ing. I EXCEPTIONAL CAST FOR VALENTINO FILM Vilma Banky and Louise Dresser Chief Support in “The Eagle” Rudolph Valentino is a strong be¬ liever in having himself surrounded by a capable cast, in contrast to the prac¬ tice of some stars in choosing unknowns for supporting roles. The cast sheet of “The Eagle,” a Clarence Brown production starring Valentino and now showing at the .. Theatre, reads like a “Who’s Who” of filmdom. The leading woman is Vilma Banky, an Hungarian actress who was brought to America by Samuel Goldwyn and loaned for this production. She is a beautiful blonde, whose pulchritude and charm have startled even blase Holly¬ wood. “The Dark Angel” is the only American picture in which she has appeared. Louise Dresser is featured in the role of the amorous and middle-aged Czar¬ ina who tries to vamp the handsome Cossack lieutenant, impersonated by Valentino. Miss Dresser, who was for many years a star in musical comedy and vaudeville, . has recently scored a great triumph in pictures, particularly with her performance in “The Goose Woman.” James Marcus, a veteran of the stage and screen, who was the Judge in “The Iron Horse,” plays the herolhe’s father and arch-enemy to the hero. George Nicholls, another old-timer, who has been in pictures since the early days, and who has recently been in “The Goose Woman,” “Winds of Chance” and “The Merry Widow,” is seen as the corrupt judge. Albert Conti, a picturesque soldier of fortune, formerly a Captain in the Austrian army and for fifteen months a prisoner in Russia, is cast as the Czar¬ ina’s favorite. Carrie Clark Ward, a stage star for many years, has a comedy role as the heroine’s talkative aunt. Other well- known players include Gustav von Seyffertitz, Mario Carillo, Mack Swain, Otto Hoffman, , Eric Mayne and Jean de Briac. “The Eagle” is Valentino’s first pro¬ duction for United Artists. It is a Russian story by Hans Kraly based on “Dubrovsky,” by Alexander Pushkin. VALENTINO DARING IN “THE EAGLE” FILM Rudolph Valentino had to do many daring stunts while filming “The Eagle,” which presents him in the role of an action hero. This magnificent picture of Russia before the revolution is now playing to capacity crowds at the . Theatre. Here are wme of the things Rudy did: Fought with a real live bear. Stopped a runaway horse and a run¬ away team. Rode spirited horses. Jumped out of a window. “The Eagle” is a Clarence Brown production and the star’s first picture under his new United Artists Corpor¬ ation contract. Vilma Banky, beauti¬ ful Hungarian actress, found by Sam¬ uel Goldwyn and loaned for this picture, plays opposite the star. The picture was produced on a lavish scale. VALENTINO PICTURE STORY NOTED ONE “The Eagle” Based on Famous Classic by Pushkin, “Shakes¬ peare of Russia” Up to a late date no motion picture producer had made an effort to sign Alexander Pushkin, even though the announcement had been widely circu¬ lated that one of his stories would be used as a vehicle for Rudolph Valen¬ tino’s first United Artists Corporation vehicle, “The Eagle,” now showing at the ... Theatre. What is more remarkable, no Holly¬ wood humorist had declared, that any producer had made such an offer. Which indicates that Hollywood hu¬ morists are tiring of their favorite joke. At the time the greatest Russian poet was killed in a duel, in 1337, he reeked nothing of long-shots and close-ups, but he left to posterity many immortal books as well as a dramatic and tempestuous memory. Take that duel, for instance. His an¬ tagonist was his own brother-in-law, Baron George Heckeren d’Anthes, the adopted son of the Dutch minister then resident in St. Petersburg. d’Anthes, a vain and frivolous young man, had married a sister of the poet’s wife Notwithstanding this he aroused Push¬ kin’s jealousy by attentions which he paid to Mrs. Pushkin. But the grounds for the poet’s anger, says the biogra¬ phers, do not appear very strong. Push¬ kin died after two days of terrible suf¬ fering. d’Anthes was tried by court- martial and expelled from the country. Pushkin was born in Moscow, June 7, 1799, He belonged to an ancient family. A strange ancestor was his maternal great-grandfather, a favorite negro ennobled by Peter the Great, who bequeathed to him the curly hair of his race and a somewhat darker com¬ plexion than falls to the lot of the or¬ dinary Russian. Pushkin was a great admirer of By¬ ron and his own life may be said to have been Byronic. He was in con¬ stant trouble with the authorities and was at one time on the point of being banished to Siberia, because of his “Ode to Liberty.” He became involved in difficulties with his family and with the govern¬ ment to such an extent that he was put under the supervision of the governor, the marshal of nobility and the arch¬ imandrite of the neighboring monastery. The Emporer Nicholas called the poet “the wittiest man in Russia.” Probably the best known of his works in America is “Boris Godunoff,” a bold effort to imitate the style of Shakes¬ peare. Now that Pushkin-is in the movies, where all is tranquil and serene, he can look forward to rest from the turbu¬ lent activities of literature and revolu¬ tion. The Pushkin story on which “The Eagle” is based is called “Dubrovsky.” The screen version was written by Hans Kraly and directed by Clarence Brown. Valentino is supported by Vilma Banky, Louise Dresser and a large cast of screen notables.