Though it may be damning Valentino with faint praise, Ken Russell’s notorious biopic is not as bad as its reputation suggests. Sure, some outrageous liberties have been taken with the truth, and the title role is played by a Russian ballet dancer in his acting debut. Yet the bare bones of the film star’s life remain and Nureyev's performance, with its stilted delivery and grand gesticulations, is actually among the film’s chief assets.

Opening with scenes of frenzied fans vying to gaze upon his dead body, Valentino follows the well-worn path of reporters questioning acquaintances. Covering his years as a New York taxi dancer is Bianca de Saulles, followed by screenwriter June Mathis, co-star Alla Nazimova and wife Natasha Rambova.

Each have their own story to tell, yet the loudest voice in that of director Ken Russell. Focusing on the uncertainty surrounding Valentino’s sexuality, our first glimpse of the Latin Lover has him dancing cheek to cheek with Nijinsky. Disparagingly referred to as a dance of the sugar plum fairies, Valentino’s unease with being constantly described as a pansy and powder puff eventually leads to his fateful decision to prove his manhood, in a boxing match conducted in the middle of ballroom dancers.

Which pretty well places Valentino comfortably within Russell’s canon of films - over-the-top cinematic flourishes producing films that are never boring, but at times downright unwatchable.