The Eagle (United Artists) (1925)

A Feature Story and Three Prepared Reviews Dignified Comedy Role for Valentino in “The Eagle 99 Interesting Life Behind the Screen in the Mak¬ ing of Celebrated Star’s New Photoplay Gives Unusual Angle of Player’s Personality. An interesting account of life behind the screen is given by Grace Kingsley, well-known Los Angeles writer, who visited the studio while Rudolph „Val¬ entino was making “The Eagle,” the big Russian picture now showing at the ;. Theatre. She writes: “It does seem as though any time a director starts out to make a costume picture, he parks his sense of humor, and so do his actors, along with their every-day clothes. Everybody goes around, weighed down by his costume and as solemn as an owl. But Clarence Brown is changing all that. Mi’ll warrant that ‘The Eagle’ will have a hundred little eaglets before the year is out. Because ‘The Eagle,’ though a costume play, tells it with humor, even with low comedy at times! “Clarence Brown and Hans Kraly, the scenarist, have taken many of the melodramatic incidents of the Pushkin novel and have made them over into comedy—evidently agreeing with Avery Hopwood, who says that anything except death and taxes can be done either as comedy or drama. “They were lacing Louise Dresser into an awful 1820 corset when I came on the set—in a little dressing-room just off the stage, made especially for her. “ ‘I’m sure I’m going to get thin in¬ voluntarily on account of these stays!’ 1 sighed Louise. “Louise says that Brown makes them forget their costumes. “ ‘He makes us live and breathe—that is, I breathe as well as any woman could who was wearing this kind of corset— but what I mean is that he doesn’t just put us in the closet at night and take us out in the morning, like a lot of mani¬ kins.’ “The censors, it seems, wouldn’t per¬ mit the real Catherine the Great to be shown. “ ‘You see,’ explained Miss Dresser, ‘she never took a bath, and she let a dog lick her hands to clean them when they were soiled. She was always pick¬ ing the young lovers and having them killed directly they bored or offended her. Yes, she was sure a nice thing to have around the house! This time it is Rudy Valentino I’m going to try to kill, but, of course, being the hero, he is quite death-proof.’ “Rudy Valentino is looking handsomer than ever. He was wearing a tunic, the other day, with a belt garnished with bullets, ‘like the bootleggers’ samples,’ he said. The bullets weren’t to be used in those days, they were a decoration. “The handsome Rudolph called out to Louise—‘Hey, Kittie’—short for Cath¬ erine, you see—‘come on, it is time for our scene.’ “Even at the risk of destroying the solemn 'worship of the girl fans, I must admit that Valentino is always kidding around the set. He takes his work seri¬ ously—but not himself nor his fellow- actors. 1 ‘You see,’ he grinned, as Miss Dresser appeared, ‘just whistle when you want the Czarina, and she comes right out.’ Then Rudy began making love, and the cameraman grew so interested that he turned the crank right out of the camera! Whether a bear will feel the influ¬ ence of the screen’s greatest sheik or not remains to be seen. At any rate, Valentino has' a mighty battle with Bruin. The scenes were left to the last for quite obvious reasons! “Valentino—despite the bear incident •was delighted at working with Clar¬ ence Brown, he says.” VALENTINO HERE IN ROMANTIC COMEDY Thrills Aplenty, Too, in “The Eagle,” New Film by Celebrated Player Review No. 1 Rudolph Valentino’s long absence from the screen was ended yesterday when “The Eagle,” his first United Art¬ ists Corporation production, opened at the ... Theatre. The first and most important thing to say about “The Eagle” is that it is great entertainment. It is a fast mov¬ ing compound of comedy, thrills and romance. Valentino makes his first appearance as a Cossack Lieutenant. Believe it or not, he runs away when the amorous and middle-aged Czarina tries to make advances to him. She signs his death warrant. This, and a great injustice to his father, cause the young man to turn bandit—a brigand who earns the title of the Eagle because of his swift and mysterious movements. Interest in the romance is heightened by the fact that the hero’s sweetheart is the daugh¬ ter of his mortal enemy. “The Eagle” is a decided departure for Valentino. The story has more action and more comedy than any of his previous vehicles. It will take rank with his best pictures. The star plays his role with zest and artistry. And he never looked handsomer! Rudy is to be congratulated on hav¬ ing Clarence Brown for director and Hans Kraly for scenarist. They have built a photoplay that moves and enter¬ tains. Vilma Banky, the Hungarian beauty, whom Samuel Goldwyn discovered in Europe and loaned for this production, is not only lovely but has real talent. Louise Dresser is excellent as the Czar¬ ina. Other parts are capably played by Albert Conti, a newcomer, James Mar¬ cus, Carrie Clark Ward and a host of other well-known performers. The ac¬ tion takes place in Russia before the revolution. VALENTINO NOW AS ROMANTIC RUSSIAN Famous Star Has Role in “The Eagle” Distinctly Different From Others Review No. 2 Hail Rudolph, the romantic Russian! Valentino’s new picture, “The Eagle,” now showing at the. Theatre, brings him to the screen as a Muscovite hero in a vehicle that will take rank with any in which he has previously appeared. “The Eagle” is a pretentious film with the action taking place in the land of the Czars before the revolution. The screen play is by Hans Kraly, based on “Dubrovsky,” a Russian classic by Alex¬ ander Pushkin, “The Shakespeare of Russia.” Clarence Brown has directed it with skill and humor. Valentino has a role distinctly dif¬ ferent from any of his others and he imparts to it a vitality and magnetism that will win even more admirers for this amazingly popular young man. The part calls for unusual versatility inas¬ much as he appears in three guises— first as a Cossack lieutenant, then as an adventurous bandit, and, while in masquerade, as a French tutor. “The Eagle” might be described as a romantic comedy-drama. Certainly it has all of these elements, plus a pic¬ torial beauty that delights the eye. The star is supported by a brilliant cast, including Vilma Banky as the lead¬ ing woman, Louise Dresser as the Czar¬ ina, and many other bright lights of filmdom. Even the minor roles are played by actors of distinction. This is Valentino’s first production since he became affiliated with Mary Pickford, Charlie Chaplin, Douglas Fairbanks and William S. Hart in United Artists Corporation. His initial step is auspicious in every way. VALENTINO FINDS HIS WINGS IN “THE EAGLE’' New Photoplay, a Romantic Comedy, Proves Splendidly Thrilling Entertainment Review No. 3 AN OPEN LETTER TO RUDOLPH VALENTINO My dear Rudy: You have done it! Congratulations! “The Eagle” is a bird. (I disregard the common prejudice against puns). You have found your wings again and I hope you keep on flying. I have been reading about your vari¬ ous troubles and I wondered how they would affect you, but I know now that you have landed on a high mountain, just where an eagle should be. You have given us entertainment, and that is what we want in the theatre. The drama is played with a light touch that is delightful. Now I know what a comedy drama is. Isn’t Vilma Banky a beauty? And she has ability, too. I want to con¬ gratulate you on having Clarence Brown for a director and Hans Kraly for a scenario writer. That’s an unbeatable combination. You never looked more dashing than in the costumes you wear in this picture. Anybody that can carry us into far fields of romance and make us forget the cares of a humdrum world is a bene¬ factor. You have done that, Rudy, and I hereby confer on you the degree of B.H. (Benefactor of Humanity). Cordially yours, Name of paper or reviewer. Rudolph Valentino leads Hollywood in the strenuous life. The star got up at five o’clock every day and hied him¬ self to the beach for a swim before go¬ ing to work in “The Eagle,” his first production for United Artists Corpora¬ tion, now on view at the. Theatre. Before that he used to get up at the same hour and box or ride horse¬ back. Rudy changes his sports and hob¬ bies regularly and thus keeps a fresh interest in them. Rudolph Valentino grew sideburns for “The Eagle,” his first United Artists Corporation production now showing at the ... Theatre. As yet the barbers have not protested, as they did when he grew a full beard. Rudy plays a Russian in this picture. Clarence Brown, who directed Rud¬ olph Valentino in “The Eagle,” now at the ... Theatre, was educated as a mechanical and electrical engineer. Albert Conti, supporting Rudolph Val¬ entino in “The Eagle,” at the. .. Theatre, was a Captain in the Austrian army and served fifteen months as a prisoner of war in Russia. “The Eagle” is a Rus¬ sian picture. FAMOUS PAINTER TUTORS VALENTINO Film Star Shows Great Aptitude in Art Says Portrait Artist Rudolph Valentino is learning to paint. His tutor is none other than Frederico Beltran-Masses, court paint¬ er of Spain, who has been the star’s house guest and who painted three pic¬ tures of him. ‘Valentino has unusual talent,” says Beltran-Masses. “It is extraordinary, in fact, that a man without previous training should be able to paint as well as he does. I think it is because he has the artistic soul.” Valentino’s talents as an actor are displayed to excellent advantage in “The Eagle,” a Clarence Brown production which is proving a great drawing card at the . Theatre. In this Russian picture the star is seen as a Cossack lieutenant who turns bandit. The story, which is full of both drama and comedy, is based on “Dubrovsky,” a Russian classic by Alexander Push¬ kin. Hans Kraly wrote the scenario. Vilma Banky, “the Hungarian rhap¬ sody,” plays opposite Valentino. Louise Dresser has a featured role as the mid¬ dle-aged Czarina who tries to vamp | the star.