I saw this movie at home more than thirty years after it was first made, and without the background to appreciate the director and his style of directing, which frankly got on my nerves. I also dislike "biographies" which take wild liberties with the actual facts of their subject's lives.But oh, the sets! Oh, the wardrobe! And most especially, oh, Nureyev!! Now lost to us due to AIDS, international ballet star Nureyev did well in this movie, over-acting and under-acting apparently per the director's instructions. Of course, every dance scene is exquisite. (I flinched at the reviewer here who burbled that golly, he's a better dancer than Al Pacino! Yes, dear; a moment on Wikipedia would tell you why.) And, given who and what Nureyev was, the nude scenes are exquisite, too, and plainly show a great deal of acting ability (neither over- nor under- ) on his part. Alas, the beautiful seduction scene in the tent has *talking*. Ah, had they only shut up! The grumpy, intrusive dialog is acidic enough to stifle the eroticism of the encounter. For that scene, one could wish this movie about the silent-film era were silent itself.Trivia: compare his nude photo shoot scene with the two women to the costuming by Bakst for Nijinsky in "Afternoon of a Faun." (Google all that to see pics.) I felt terrible when I missed the revival of the Bakst costumes and Nijinsky's choreography when "AoaF" came to my area in the early 1990s; the photo session scenes in this movie made me feel that at least, I have seen the Faun. This means that the director did the work to reproduce the 1912 original wardrobe over a decade *before* the same exhausting work was done for the 1990's revival.The rest of the movie was essentially one long jangle and blare, with artsy flashbacks and an early stab at what I guess might be magical realism, or something else disjointed, recursive, and melodramatic. In any case, it was enough to alienate me and I never did get fully into the narrative thread (narrative snarl?) of the film. So, five stars - raves for the settings and wardrobe and Nureyev, and just "eh" for everything else.

I don't see how I could possibly spoil this movie, as I'm pretty sure most people know Valentino is dead. The manner of his death spoiled the movie for me, fact-based viewer that I am. This movie is a five-car pileup -- you can't look away. Nureyev is no actor, but it hardly matters. This must be the noisiest movie ever made about the silent era. Even Seymour Cassel, known for his work with John Cassavetes, soon joins in the general shouting and gesticulating. The two-whatevers rating is for the costume one of the women wears to the funeral, which makes her look like a Klimt painting. It made me laugh.Please, Ken, leave Garbo alone.

Ken Russell, the distinguished English director, gives us his own take on the legend of Rudolph Valentino, the legendary silent star. This biopic that Mr. Russell has written with Mardick Martin, doesn't deliver the promise of showing the man behind the fame. In a way, this is probably the interpretation of the writers, based on well known facts, no doubt. However, the film that one sees has an amateurish look, that has a lot to do with the casting of the title character: Rudolf Nureyev.Mr. Nureyev was an accomplished dancer. As an actor, either his style is not what one expected, or Mr. Russell's direction to the star was completely wrong. The end result is a picture much too long, but with the usual Ken Russell palette of rich colors and lush scenery. The traditional excesses of the director are present in the film, and while we don't care for this man the way he is presented, one can see Mr. Russell's exuberance all over the film. One can't help to wonder what picture would have been made with another actor in the title role. The film offers brilliant moments where Ken Russell shines, but the end result is uninteresting. At the end, Valentino, the man, remains an enigma.

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.