#The Son of the Sheik

[innervoiceart]

The Son of the Sheik (Fitzmaurice, 1926) — 1080p

[bluehairedspidey]

thinking about Her (Rudolph Valentino)

[celebratetheclassics]

The Son of The Sheik (George Fitzmaurice, 1926) 

[nichestation]

[ophanim-vesper]

my favorite ship dynamic

[doctorcanon]

Hero!Zelda AU Facts Sheik Edition

Sheik is Impa's eldest grandson and Paya's younger brother. Thus not eligible to be his grandmother's successor. He doesn't hold this against his sister, however.

Assigned Female at Birth but was given his father's name because his mother claimed it "just felt right" so he doesn't have a deadname and takes a lot of pride in being his father's son.

Started medical training a year after and revealed himself to be an incredibly talented mage much like his father.

He continued to work through the Plauge Times where he helped care for his parents and several other patients. Many patients survived, unfortunately his parents weren't one of them. His mother from an acute seizure and his father from heart complications a year later.

Something of a prodigy, he went on to tutor a young Princess Zelda in subjects she fell behind on while she healed from The Plague.

He proved not only an excellent teacher but a better friend to the isolated princess and The King was impressed by her improvement, that he started to invite him to diplomatic meetings alongside her. Eventually, he recommended him to the Officer's Academy.

There he met Link, the bastard son of the king. They did NOT get along at first. But after the violent death of their teacher, Captain Daruk, the two - along with Revali and Sidon - found common ground and reclaimed the Master Sword from the Holodrum Territory.

Their troubles unfortunately did not end there. Tasked with ending a series of strange and destructive weather phenomena by the Three Oracles; Link, Sheik, Revali and Sidon journeyed to Labrynna - the source of the magic.

While they succeeded in defeating the sorceresses Veran and Vaati, Queen Ambi of Labrynna took this to be a declaration of war, despite evidence that the mages planned to assassinate her.

They managed to escape capture but not without great personal cost. Especially on Sheik's part as he sustained terrible burns on one side of his body, scarring him permanantly and blinding him in one eye.

Even though Sheik retains much of his combat skill but he is officially discharged from Hyrule's military due to his injuries. Ten years later, he is foremost considered to be a politician and advisor to the young princess.

However, the war with Labrynna escalates. Skirmishes with neighboring Holodrum have spiraled out of control as a result. And rumor has it they seek an alliance with Dotor of Termina.

Over that ten years, however, Link and Sheik's relationship evolves from confidants to lovers. While Sheikah are not typically banned from romantic relationships, formally courting the new Captain of the Guard poses some...complications.

In their eyes, they aren't keeping their relationship hidden just...private. Being nearly in their 30s, it's no one's business. Not even the king's.

But with an imminent match to Termina's borders, Sheik worries about the toll the war has taken on Hyrule but especially Link who puts on a stoic face as his mental state deteriorates with each battle.

These concerns put a rift between him and General Ganondorf Dragmire who claims that he's brought shame to the legacy of infamous Sheikah impartiality.

Just when war on yet another front seems inevitable, Ganondorf suggests an advantageous marriage between Zelda and Dotour's son Kafei. And all hell breaks loose.

[pocketramblr]

AU where Ganon surprise adopts toon Link the first time they face each other.

1- Link tells Tetra to free the girls while he focuses on Ganon and the Helmaroc King to keep them from being seen. But as he's fighting, the bird isn't really trying to hurt him- just grab him, which is admittedly difficult with the kid swinging the Master Sword at it, but eventually it manages and takes Link up.

2- Upon being deposited in the broken ship atop the fortress, Link quickly learns that the Master Sword will not bring down Ganondorf- who corrects him on the name- and doesn't even seem to touch him. Instead of explaining why, Ganondorf sits down and pats the floor, and begins using one of his secret skills: lying. Ganondorf is like "look, boy, I don't know who told you that old sword would kill me, or how you even found it, but they were using you. Was it those pirates? You should stop trusting people who shoot you out of cannons." Link is offended on the King of Red Lions and Tetra's behalfs, and his reaction tells Ganondorf enough.

3- "Ah, well, I suppose I can respect that. You know, long ago my people kept a fortress not in a sea, but a desert. Some hylians, fleeing the civil war or their kings' cruelty, would make it though the desert. Those who could survive that were granted protection, and those who could break into our fort were welcomed as warriors into our tribe. Not the first time they did, but if they continued trying after that first failure." Link is like "uh huh" and only half paying attention because he's trying to figure out if Tetra got all the girls out before he books it himself.

4- he does start paying attention when Ganondorf then says, "Welcome to the Gerudo tribe, vevko." At Link's confusion, Ganondorf just asks "Well, as the newest son of the Gerudo, who else could be your parent but me?" Link then has many protests, some about his grandmother but most about his sister, and Ganondorf nods. "I will let you decide then, if you agree to stay. Will your sister stay here with us, or would you send her away?" Link just wants Aryll safe at home, so Ganondorf nods and the Helmaroc King goes to frighten Tetra and Aryll to the ship, as the younger girl was trying to run to her brother instead of following the pirate. Ganondorf says it's very wise of Link, sending Aryll away means she can return to be welcomed into the tribe as well, as a warrior sister. Link does not want his little sister in danger or fighting at all, and Ganondorf recommends he get over that, because as much as he once felt the same about his kinswomen, reality demands more. The Ganondorf claps him on the shoulder and orders a few monsters to start helping prepare a proper child's room, discussing how they're going to get to get Link into some proper clothes, and eat some real food, because he can't imagine a child ate all that well on his own. Link protests that he's of age, and wears the hero clothes as custom. Ganondorf is like "hmm yeah no twelve is not adulthood, let's go vevko." and ignores Link's five attempts to attack him as he figures out a room situation for the kid.

5- Ganondorf's motivations are not as pure as he claims, as always. He does feel some gratitude for Link drawing the Master Sword and unsealing his full power, while also being sure the boy himself isn't a threat as the Sword didn't have the power it did in the hands of a true hero. Keeping the boy and the sword here might draw the Princess and the Real hero out, however, allowing him to collect the Triforce. Especially since the "collect children" plan didn't work, so the current daughter of the royal family might be an adult and harder to narrow down. Also, the kid genuinely impressed him with his breaking and entering skills and doing all of that for his little sister, so it's not like it's babysitting some crying brat all day. The Ritos', Valoo's, and pirates' attempts to get him away or hurt so they can grab Link also make Ganondorf dig his stubborn heels in: this crazy kid is his vevko now, if they wanted him they should have done better with the sword situation.

[busterkeatonsociety]

This Day in Buster…September 11, 1926

The Austin Statesman prints this ad for Buster Keaton’s greatest comedy knockout - “Battling Butler.”

[guideoftime]

Sheik & Impa. Drabble. Path - a distant future.

   “You have to try harder, Sheik!” 

   There’s sweat dripping down his face, his body is physically exhausted, and the stealth suit that was iconic to the Sheikah was clinging uncomfortably to his body. Trying to breathe through the mask wrapped around his mouth wasn’t easy with the amount of sweat that was drenching his body. And his mother has the audacity to tell him to try harder. His teeth grind together beneath the mask, he glares at the floating training dummies he was supposed to take out airborn and twists around to fall from the roof of the house he had been crouched on. 

   He lands in a crouch, shoots to his feet and glares at Impa. As he speaks he waves his arms, motioning toward the floating target dummies and then her. “You try it! Do you know how hard it is to throw myself several feet mid-air and take those things down! Without killing myself or falling to my death!?” By the time he gets the words out, pulled hard from his chest given the lack of air in his lungs. His mother blinks at him, looks deeply unimpressed and crosses her arms over her chest. 

   “Do you really want me to do it?” 

   No. Because he knows she can and it’s just going to piss him off more. As does her condescending attitude. Sheik’s hands fall to his side and clench, nails digging into his palms as his shoulders tense. Why she was even making him do this was even more frustrating. Sheik enjoyed getting to tinker in his room, build and create the very things they were using now. He enjoys messing with Sheikah Tech and the magic that flows through it. He likes getting to be creative and working with his hands. 

   He doesn’t like picking up a blade and doing all these complicated moves that sometimes ends with him falling, sometimes great feets, and getting hurt. He doesn’t enjoy picking himself back up off of the ground, needing stitches, patching broken bones–the way his mother stares down at him expecting him to be a Sheikah Warrior and not Sheik. 

   He doesn’t understand why his mother can’t be proud of him. Can’t see him and the things that he has done. Sheik is directly responsible for the things that they have created and use now. He made the upgraded stealth suits, the floating training dummies, the improved Sheikah phones, gossip stones, tablets–and all she sees is what he can’t do. The things she wants him to be able to do. The things the Royal Captain was trying to shove down his throat that were in line with tradition. Servants of the Royal Family. 

   Eventually, one would think they would be able to fight that title. 

   “Are you done?” A breath, he forces his hands to relax and picks his head up to meet her unimpressed gaze. “Good. Up you go again then, let’s try once more.” He spins away and begins walking toward the tree to get him back up. “And Sheik?” A slight pause, glancing over his shoulder, Impa offers him a smile. “I believe in you.” 

   At least one of them does. 

   Sheik learned to cook because Impa was physically incapable of it. All of her talent seemed to lie in wars and fighting, which wasn’t necessarily a bad thing. Growing up had been traumatizing everytime she stepped foot in the kitchen. The things that came out, the fires that started, the take out they usually ended up with. He learned to cook almost as a survival technique. He was quite good at cooking too, and found it fell quite in line with science. He enjoyed cooking. 

   Impa tended to get home before him most days, other days they got home around the same time. He spends a lot of time at Sheikah Industries, or loses himself in working on a project. When he does get home, around five when he should make dinner, the house is unlocked and the outdoor light left on. He closes the door quietly behind him and runs his gaze along the kitchen, easily and quickly finding his mother seated at the table–entirely passed out, her head buried in her arms and a cup of coffee by her. 

   A soft sigh falls from his lips and he begins taking his jacket off. This isn’t anything new, she goes days without sleeping sometimes. Working herself to death between the Royal Family, the Queen, the Princess, the Castle Soldiers, Kakariko itself–she takes on the entire weight of the world and just continues to pile on more without even thinking. She’s done this since he was a child and it never got any better. 

   Making his way over toward the table he glances briefly to her face before looking down at the table. A mix of scattered paperworks, from soldier reports to performance reviews and a list of things Kakariko needed. He shook his head slightly and glanced toward her exhausted face before moving away. A blanket is grabbed from the couch, carried into the kitchen and Sheik gently lays it over her shoulders. 

   “I wish you wouldn’t take on so much.” She’s going to kill herself from stress, and it’s not like she listens to him. A gentle brush of his mother’s shoulder before he moves away and opens his phone. 

   They can have takeout today, he doesn’t want to wake her.

[mifunebooty]

This is The Sheik 1921 with Rudolph Valentino btw

[totally-correct-oot-skord]

Sheik: I made lightly fried fish fillets for dinner. Impa: Sheik, It’s 1:15 am, what the heck. Sheik: Do you want the lightly fried fish fillets or not. Impa: Well, I mean yeah. Sheik: So come downstairs while they’re still hot. Impa: Wait, you just made them? Sheik: Yeah, I wasn’t tired so I decided to make lightly fried fish fillets. Impa: Say lightly fried fish fillets one more time Sheik.

[cproofreign]

HRH Christopher Keith Ruiz Hamburg Fitzgerald Dude Braugh and HRH Queen Monique Xperis DuValois

[good-advice-ganondorf]

Majora's Mask and what it means to be grown up

(aka my collected analysis of the Legend of Zelda Majora's Mask)

I will say that generally I don't think Termina is purgatory, or a dream, or anything like that. To me, Termina is kind of like a Silent Hill type parallel world, where you face your deepest traumas.

First, the parallels between Majora's Mask, and the child section of Ocarina of Time.

The first dungeon for both games is in a vast wooded area, there are woodland races inhabiting both areas, the Kokiri for Ocarina of Time, and the Deku for Majora's mask. The second dungeon is in a great mountain, inhabited by the Gorons. The third dungeon is in a vast body of water, inhabited by the Zora.

Then, things split. After Jabu Jabu, Link becomes an adult. After Great Bay, there's Ikana Canyon. A land of nothing but Death.

Who caused the death of Ikana? Who else but the king, Igo Du Ikana. Ikana was plunged into disrepair, after Igos started a war with a clan of Ninjas, to receive a powerful artifact, in a great and mysterious temple. Sound familiar? It should, this is exactly what Ganondorf did, after Link was sealed away for seven years. But Ganondorf was successful.

But Ikana isn't completely occupied by the dead, no. Pamela remains, with her father, turned into an undead monster. Much like Sheik, the last Sheikah, who is revealed to be Zelda. And her father? He's never seen, but I'd imagine it would be easy enough for Ganondorf to become king, if the other one was no longer around. From a man, to a corpse.

So, if Ganondorf is a parallel to Igos, and Zelda is a parallel to Pamela, what about Link? He's a little different. I believe that, along with Kafei and Tingle, all three of the transformation masks are a representation of Link, and his feelings towards being forced to grow up.

Tingle is, as we know, a 35 year old man who thinks he's a fairy boy. Similar to how link was a 10 year old boy, who thought he was a fairy boy. I believe Tingle is a reflection of what Link could have been if he never left Kokiri Forest. An adult hylian man, thinking he's a Kokiri.

On the contrary, Kafei is distraught at the idea of becoming a child again. He's weaker, he can't marry his fiancee, and everyone treats him like well, a child, despite his maturity. I believe this is how Link feels after becoming a child again. He used to be a strong adult, and even if he's not as mature as Kafei, he still went through a lot, and knows a lot more about life now. Kafei even reuses Link's model and animations.

There's a reoccurring theme in Ocarina of Time where Link just doesn't belong anywhere he goes. He's an outsider to the other races, because he's a hylian, but he's also an outsider to the hylians, because he was raised as a Kokiri. I think the transformation masks reflect that.

The Deku Butler's Son is what he could have been as a Kokiri. He could have been a happy little boy, living with his father, and his community. But Link and the Deku butler's son both left home to explore, and as far as both the Kokiri and the Deku are concerned, neither came back.

Darmani is what he could have been as a Goron. A powerful hero to the Gorons, celebrated by them for clearing Dodongo's Cavern. A close link between the goron elder, Darunia, and their sons. Both him and Link remain after death, lamenting on their histories as heros.

Mikau is what he could have been as a Zora. Maybe not a cool as hell guitarist, but a husband to Ruto, and Prince of the Zora Who would stop at nothing to keep her happy and safe, like infiltrating a fortress, or climbing inside of a whale.

Even the Fierce Deity is just Link, but back as an adult. As if so much changed so rapidly, he felt like he transformed into something less like himself, and more like a powerful god. He could have continued being strong, and powerful, the defeater of Ganon, but he had to become a child again. He has to stay as a small, and unknown child.

The ages of the masks even match the human life cycle. According to the debug menu (and if you subscribe to the theory that Link and DBS's ages were swapped), DBS is 5, Link is 12, Darmani is 30, Mikau is 78, and, Fierce Deity is 17, likely due to his model being recycled from adult Link's. Link starts the game in the body of a 5 year old, then a 12 year old, then a 30 year old, then a 72 year old, and finally, a God.

We don't exactly know how Link feels. But I can't imagine it would be easy to go from a child, with no concept of death, to be thrust into a position where he's forced to fight and kill an adult man so much stronger than he is. And then everything was just reversed. Like that. As if it never happened. And only Link remembers the impending doom he faced. All he can do is remember Ganondorf's reign. Almost like he's reliving the same few days, again, and again, and again.

[hotvintagepoll]

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Vilma Bánky (The Son of the Sheik, The Eagle)—She's famous now for being a silent star ruined by the transition to talkies, unlike her frequent co-star Ronald Colman. I think that's a shame, as she has a real vivaciousness and charm in The Winning of Barbara Worth. In this *checks notes* western about environmental engineering, she rides around the desert and gets wooed by both Colman and a young Gary Cooper (good for her dot gif.) Even in stills from films that are sadly lost, I think there is a distinctive warmth and individuality to her. Also she is extremely hot in her extremely pre-Code dress in The Magic Flame.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Vilma Bánky:

I love Vilma Bánky! She was called "the Hungarian Rhapsody" and apparently had a thick Hungarian accent which I think is cute. Several men fighting over the same women can be very cliche but when I saw her in The Winning of Barbara Worth (1926) I got it because my god she really is that drop dead gorgeous. She's also a wonderful actress though, expressive yet natural. I read once that seeing her in The Dark Angel (1925)—a film now seemingly lost—inspired Merle Oberon to become an actress :)

This is more of a factoid but she was apparently the women's golf champion at Wilshire Country Club through the 1940s. [link] I just think she's neat.

I love herrrrr she’s my everything. Watching her kiss Rudolph Valentino in Son of the Sheik made me so flustered I had to pause the movie to cool down. She’s the prettiest the most beautiful the most incredible woman I’ve ever seen. I could look at a picture of her for hours

[divortion]

decided to transcribe some of the last words from claudia's notebook

Young girl: "Please, Please don't, please stop!" Man in the last row at the Son of the Sheik Picture Show: "You said you had cigarettes" School teacher: "Guard your heart" GRUMPY waiter taking out trash: "What a creep you are. Don't" Kissing couple under the bridge - Man: "Get a load of this kid" / Woman: "This can't be real, but you're just a child. No please" Oyster shucker on Main Street: "Little lady miss - you devil!" YOUNG MAN AT TRAIN STATION: "WHAT ARE" Musicians at cellar restaruant - Cello: "Is this a joke? You can't Oh god it can't be!" Violin: "It's a devil holy lord." Swan in the lake: (Hard to read. Terrible something... terrible taste?) [Unseen names]: "Sweet lord almighty", "Please I beg you" "Get your hands off-" "Dear God how" Woman in powder room: "Stop what are you. Child stop this instant" French man: "Mademoiselle arrete", "Porquoi tu fais ça moi!" Mother and daughter in town (near Jackson unintelligible) - Girl: "Mama my ice cream no why", Mother: "Good heavens not my child please!" Man on ???: "Keep your distance girl I know what you are I've seen you at night" Fisherman at Algiers Point: "Oh god what in heavens!" FLOWER STAND SELLER: "Dear we're closed now. You CAN'T WAIT YOU CAN'T BE. NO!" Sickly woman in shawl: "God will seek revenge on the evils in this world you devil." (Annotation from Claudia: "I laughed!")

[parksrway]

Yiga Sheik brings Link home and Kogha is just white knuckling it through being nice because this is the first time he’s seen his adoptive son this happy.

demise give him strength