Cobra (1925)

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

For big stars, of course, you can't go any higher than Rudolph Valentino. I've already detailed The Eagle (1925) earlier in this resource. Alpha have now issued an excellent value DVD of this title - a very good print with a fine music score by Don Kinnier. Also scored by Kinnier and also recommended for print quality is Alpha's edition of Valentino's Cobra (1925). This one co-stars the ravishing Nita Naldi (exquisitely costumed by Adrian) and the rather dull Gertrude Olmstead and even less personable Casson Ferguson. And to add to a viewer's woes, it's listlessly directed by Joseph Henabery, an exponent of the steady-as-she-goes, don't-do-anything-exciting school of film-making. Naturally, with Henabery at the wheel, the big action scene occurs off-camera. And speaking of the camera, I don't think it moves once during the entire movie. Whereas Clarence Brown sets out to dazzle the audience in "The Eagle", Henabery's evident aim is to send us to sleep. If it were not for Nita Naldi, he would have succeeded. True, Rudy's charisma manages to surmount the director's super-slow pacing until Naldi rescues the movie. But once she exits, our interest dies.

If this rather melodramatic piece were redone today you might get a psychological explanation for Rudolph Valentino's behavior. Quite simply put Rudy is a sex addict, title and all.Cobra has Valentino cast as a man with a title going back many generations, but he's cash poor and he has a compulsion to bed every woman he meets. You can imagine that such behavior has left him with few friends. But he gets a lifeline from America in the form of vacationing millionaire Casson Ferguson offering him a job in New York City where he's got a certain expertise in antiques and that's Ferguson's business.It doesn't take long for Rudy to start returning to his old ways. It means tragedy for one woman he's involved with. In the end he does an honorable thing.The Cobra did not do all that well as the movie going public liked to see Valentino in costume dramas. There is a small flashback sequence where you see him as one of his ancestors. Maybe had the whole film been set in the 15th century it might have worked better.As it is The Cobra is second tier Valentino.

COBRA (Paramount, 1925), a Ritz-Carlton presentation directed by Joseph Henabery, offers an odd or misleading title to a love triangle starring the legendary Rudolph Valentino (1895-1926) in one of his final screen performances. With its opening credits super imposed over that of a cobra, one would expect this product to be set somewhere in Burma where hunters fall victim to a dangerous and largest of all venomous snakes. The cobra in this case is a symbol, categorized later in the story to be one of the female characters depicted through a close up of a bronze sculptured cobra mesmerizing a tiger. Nita Naldi assumes the role of the temptress symbolizing the cobra while Valentino, the tiger, becoming its prey, and reciting these words, "You are infamous - you are poisonous, like a cobra!" "There are times when friendship becomes the most important thing in a man's life, stronger than love, equal to any sacrifice -- even that of love itself," marks the first inter-title as the plot begins amusingly on the terrace of Cafe Del Mare as Victor Manardi (Hector V. Sarno) arrives looking for Rodrigo Torriani (Rudolph Valentino), a young Italian count who's been romancing his daughter, Rosa (Claire De Lorenz). Wanting to settle an account with him, he mistakes the visiting American, John "Jack" Dorning (Casson Ferguson), for the count. The disruption has Rodrigo entering the scene posing as an Italian interpreter, proving Dorning to be whom he is and not Torriani. Torriani then takes Jack with him to his debt-ridden palace where he tells of his life story and family history. Because his playboy lifestyle finds him with female complications, Jack helps him to forget women by inviting him to sail with him to New York where he's to become his partner at his antique shop, Dorning & Sonm which he readily accepts. Believing New York a great place to avoid female troubles, Rodrigo soon encounters Mrs. Huntington Palmer (Lillian Leighton), a dowager, who introduces him to her niece, Elise Van Zile (Nita Naldi), a fortune hunter. Learning Rodrigo to be penniless, Elise soon turns her affections towards Jack. Though Jack is loved by Mary Drake (Gertrude Olmstead), his loyal secretary, he marries the flirtatious vamp who, in turn, uses Rodrigo as her lover on the side. Arranging a secret rendezvous at the Van Cleve Hotel, Room 1002, Rodrigo, due to his loyalty towards Jack, rejects Elise's advances and leaves. The next day Rodrigo reads in the newspaper the startling news of the hotel burning down, claiming Elise and an unidentified man as victims. Guilt-stricken, Rodrigo is torn between telling Jack the truth about his unfaithful wife or keeping her illicit affairs a secret.Seldom revived Valentino melodrama, COBRA has turned up on cable television's Nostalgia Channel as part of its Saturday night line-up of "When Silents Were Golden." In its March 19, 1994, broadcast, COBRA consisted of a print with piano sound score composed by Bob Mizzell (Copyright 1979 by Big Eopper Music/Mizzell Films). While it was commendable for Nostalgia Television's dedication to rare and hard to find feature films from the silent screen era, the series was regrettably handicapped by frequent and long-winded commercial breaks. Other video or DVD distributors as Kino Video and/Or Grapevine Video featured different scoring and time frames (70 to 75 minutes) while Image Home Entertainment contains average orchestral score by David Shepard (1998).Not quite an important film in a sense of greatness, COBRA still owes some of its modest degree to the short-lived leading man status of Rudolph Valentino. Nita Naldi might be another reason for her title-influenced characterization. Naldi, who vamped Valentino most famously in BLOOD AND SAND (Paramount, 1922), does the same here, but not so memorably this time around. Her career as a silent screen vamp would soon come to a close before the end the decade. Cemented into his image as a great lover, COBRA offers Valentino one of his few chances to enact a portrayal true to his Italian origin as well as appearing in a product in contemporary setting as opposed to others taken from another time or place. Often categorized as a disappointing Valentino melodrama, it somehow works on a level of choice, whether accepting COBRA for what it is or simply laugh at its outdated acting style and material. Casson Ferguson (1891-1929), a name nobody knows, who, like Valentino, succumbed too early in life, dying from pneumonia four years after the release of COBRA. Ferguson's role of an American business owner who hires the Italian count to be the expert on Italian antiques is acceptable but forgettable in its final result. Gertrude Olmstead (1987-1975) gives an commendable performance as the secretary who comes to a decision which man she truly wants. Also featured in the cast are Eileen Percy (Sophie Binner, the blackmailer, "Believe it or not, she's a lady"); Henry Barrows (Henry Madison, Manager of Dorning & Son); and Rosa Rosanova playing Marie.While the COBRA title had been used a couple of times subsequently, the basis from this story were never remade, not even as the 1986 action thriller starring Sylvester Stallone. For this 1925 edition, no cobras here, just fine actors doing what they do best, rising above an average story scripted by Anthony Coldeway, adapted from the Martin Brown play, some venom by Nita Naldi, the presence of Rudolph Valentino and the films for which he appeared that have survived through the passage of time. (**)

I had some doubts when I first watching "Cobra" as I seem to recall long ago, a negative reaction to watching one of Valentino's movies. But hey, guess what, despite some odd things, I actually liked it!Valentino plays Rodrigo, a sex obsessed man who's actually had it up to HERE with women coming on to him all the time (and vice versa!) he meets up with a antiques dealer from the US who persuades to come work for him. Believe me, I could actually predict what was going to happen a mile away.Anyways, Valentino plunges into his work, ignoring every woman that comes his way. When his antiques partner marries a woman that was trying to woo Valentino, (which is surpising in itself, as it looked for a while that he was appearing to be an "unwritten gay character" the woman keeps trying, even trying to woo Valentino up to a hotel room. From this point, things take a laughably unpredictable turn (you don't see it coming) which leads us to the sad ending. Awww.The acting here is good for the period, but tends to rely on, as it always does with silent dramas, with too many people looking glum, and looking off to the side. (you know what I mean). Valentino is quite good in this actually. Worth a look.