Cobra

1925
1h 10m

ÉVALUATION IMDb

MA NOTE

Nita Naldi and Rudolph Valentino in Cobra (1925)

Ajouter une intrigue dans votre langueA penniless, skirt-chasing Italian nobleman finds love and scandal when he travels to New York City.A penniless, skirt-chasing Italian nobleman finds love and scandal when he travels to New York City.A penniless, skirt-chasing Italian nobleman finds love and scandal when he travels to New York City.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

6,4/10

792

MA NOTE

Voir l’information sur la production à IMDbPro

Photos16

+ 8

Rôles principaux16

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Rudolph Valentino

Count Rodrigo Torriani

Nita Naldi

Elise Van Zile

Casson Ferguson

Jack Dorning

Gertrude Olmstead

Mary Drake

Hector V. Sarno

Vittorio Minardi
(as Hector Sarno)

Claire de Lorez

Rosa Minardi

Eileen Percy

Sophie Binner

Lillian Langdon

Mrs. Huntington Palmer

Henry A. Barrows

Henry Madison
(as Henry Barrows)

Rosa Rosanova

Marie

Michael Dark

Antique Salesman
(uncredited)

Sayre Dearing

Undetermined Secondary Role
(uncredited)

Bud Geary

Undetermined Secondary Role
(uncredited)

George Hickman

Undetermined Secondary Role
(uncredited)

Paul Porcasi

Cafe Proprietor
(uncredited)

Natacha Rambova

Dancer
(uncredited)

Histoire

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Le saviez-vous

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Anecdotes
This was the first film from the production company of star Rudolph Valentino and his wife Natacha Rambova, who had a small part. Reportedly, Rambova began to rewrite the script almost immediately after filming began, and made such a mess of it that the studio called in veteran screenwriter June Mathis to do a complete rewrite.

Connexions
Follows The Hooded Falcon (1924)

Commentaires des utilisateurs14

Commentaire

Commentaire en vedette

7/10

Unremarkable melodrama

While Valentino is good and the parts where he satirizes his public image as a great lover are priceless, it isn't hard to see why Cobra (1925) flopped at the box office when it was first released. The story is creaky (even by 1925 standards) and the one-dimensional characters are not interesting. As a result, you find yourself uninvolved in all of their troubles and heartache. The production is stage-bound. The direction is unimaginative. Sometimes the film feels like a product of the mid-1910s rather than one made at the height of the Roaring Twenties.

Only Valentino or Nita Naldi completion-ists will be interested in this mediocre film.