Plot
Vladimir Dubrovsky (Rudolph Valentino), a Cossack serving in the Russian army, comes to the notice of the Czarina (Louise Dresser) when he rescues Mascha (Vilma Bánky), a beautiful young lady, and her aunt trapped in a runaway stagecoach. He is delighted when the Czarina offers to make him a general but horrified when she tries to seduce him. He flees and the Czarina puts a price on his head.
Soon afterwards he receives a letter from his father informing him that the evil nobleman Kyrilla Troekouroff (James A. Marcus) has taken over his lands and is terrorizing the countryside. Hurrying home, Vladimir learns that his father has died. Vowing to avenge his father and help the victimized peasantry, he adopts a black mask and becomes the Black Eagle, a Robin Hood figure. Discovering that Kyrilla is Mascha's father, he takes the place of a tutor who has been sent for from France, but not previously seen by anyone in the household. Vladimir is thus able to become part of Kyrilla's household.
As Vladimir's love for Mascha grows, he becomes more and more reluctant to continue seeking revenge against her father, and the two eventually flee the Troekouroff estate. Vladimir is captured by the Czarina's men, but the Czarina, once determined to have him executed, has a last minute change of heart, and she allows Vladimir, given a new French name, and Mascha to leave Russia for Paris.
Read more about this topic: The Eagle (1925 Film)
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Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)