MARIO GAUCI
This is extremely faithful to the spirit and letter of Oscar Wilde's play (at least, judging by Ken Russell's 1988 interpretation of it in SALOME'S LAST DANCE). While I rated it higher than the latter, this is mainly because it is visually redolent of the Biblical spectacles of the Silent era (THE TEN COMMANDMENTS {1923}, BEN-HUR: A TALE OF THE Christ {1925} and THE KING OF KINGS {1927}, to name the more obvious examples), being a straight adaptation as opposed to a 'performance' – even so, while it may have readily jumped on the spectacle bandwagon, the result is unsurprisingly verbose for a non-Talkie and, in any case, its real raison d'etre was apparently as a paen to Wilde's transgressive lifestyle since it has been stated that the entire cast was homosexually-inclined (with several prancing courtiers and even minor female roles being filled by men)! The star is Alla Nazimova (billed only by her surname) who, at 42, appears in the title role – a character who was supposedly all of 14 years old! Though her real age is undeniably betrayed in close-ups, for the most part, her lanky figure supplies the requisite illusion of youth; to get back to its proximity to Wilde's text (and, by extension, Russell's rendition), Salome is made out to be something of a nymphomaniac, if not quite as gleefully wicked as Imogen Millais-Scott in the later version. For the record, of the remaining cast members, only Nigel De Brulier's name – in the part of a rather scantily-clad John The Baptist and actually referred to as Jokanaan(!) – was familiar to me, from a number of swashbuckling Douglas Fairbanks vehicles and even THE MAN IN THE IRON MASK (1939; as it happens, directed by the gay James Whale), with the woman playing Herodias being noted, if anything, for her disheveled hair-do (though, when the scene shifts to the terrace, it then appears inexplicably combed!).Again, the narrative of the two films are very similar: from The Baptist's wardens pleading with Salome (by the way, an accent is inconsistently placed throughout over the 'e') to leave the prophet alone, with the soldier (whom the girl blinds with false promises of affection) eventually committing suicide because, as he says, he "cannot endure it". Likewise, the latter's servant being jealous of his attentions for the Princess and, ditto, Herodias berating her husband for his incestuous leering over the girl (having already assassinated his own brother and usurped the throne in order to win the Queen's favors!). Perhaps the film's mainstay are the incongruously outlandish costumes (created by Natacha Rambova, noted wife of the even more famous Rudolph Valentino – the silver-screen's Latin Lover prototype whom Ken Russell would himself deal with in a 1977 biopic!), from Nazimova's bejeweled hair to the over-sized outfits of her ladies-in-waiting, which conveniently obscure Salome while she is changing into her dancing attire (though the film-makers seem to have forgotten all about the Seven Veils in this case)! For the record, Rambova (who is said to have been Nazimova's lover before she was Valentino's) also designed the sets and did the screen adaptation herself, the latter under the assumed name of Peter M. Winters! The climax is somewhat confused, though: first, we have a Nubian giant (who had stood guard by the castle walls all through the picture) being asked to behead The Baptist but, when he goes down to the pit where the prophet is incarcerated, the latter's Holy words apparently convert him. Yet, all of a sudden, we cut to Salome already with the proverbial silver platter (or "charger", as it is called here) in hand, albeit covered-up – however, it was only after she has put in on the floor and bowed down beside it, all the while pining for Jokanaan's red lips, that I realized the deed had already been done! Finally, after Herod gives out the order for Salome to be slain (and his spear-sporting minions dutifully oblige), the film simply ends on a long-shot of her corpse and Herodias looking upon it in horror (at least, Russell's theatrical framework lent the whole a better sense of closure and, if anything, given the propensity of the foreword here, one would have expected at least a matching coda!).
FerdinandVonGalitzien
Sometimes there is a weird silent film production very difficult to classify after so many years have passed since its premiere; this is true even for this German count, a strange fact given that the aristocracy are accustomed to unusual subjects.This silent controversy is true of "Salome", a strange oeuvre that even nowadays shocks the audience by its eccentricity and singularity. It was directed by Herr Charles Bryant in the silent year of 1923, and starred his wife ( or something like that because they lived in sin during many years… ) the also unclassifiable Dame Nazimova.Filmed in an unique and theatrical set ( there are few different shots outside the main setting ), this extravagant oeuvre was the first film adaptation of the great writer Herr Oscar Wilde's play,which tells of the capricious and ill fated infatuation between Dame Salomé and Herr Jokanaan .Many adjectives comes to this German count's mind watching this peculiar silent film production, a baroque oeuvre with bizarre costumes inspired by the great Herr Aubrey Beardsley illustrations together with suggestive décors that are outstanding for their originality and the same time modernity ( the "Art Nouveau" is the inspiration) and stilted performances that give the film an atmosphere of careful theatricality that fits well with its artistic and original intentions. It is of course, an adaptation of a biblical story though with a decadent touch.Obviously Herr Charles Bryant's "Salome" is not one of those DeMille' biblical productions in content and form ( thank Gott! ); Dame Nazimova gives to the oeuvre a perverse sensuality and creates a lustful atmosphere hanging over the other characters. The film plays with ambiguity and loose-living, an interesting combination of hedonism and lechery."Salome" is a capricious, original silent film rarity which is outstanding in its artifice and mannerisms at the service of an exuberant staging and is intentionally overacted. It is an audacious and controversial film even after so many years.And now, if you'll allow me, I must temporarily take my leave because this German Count must do a belly dance for one of his Teutonic rich heiress.Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
innocuous
If you enjoy recent independent films and you are not threatened by silent films, then "Salome" is a film you need to watch at least once. It bears small relationship to Wilde's original work, since Wilde worked in language and the film is, of course, limited to title cards. But it was (and remains) an interesting experiment that stands up well with many other silent classics. The camera work is pretty pedestrian and the performances are typical for that era, but the costuming and sets are fairly daring.Nazimova really pulls it off as the 14-year-old Salome, though Mitchell Lewis and Rose Dione don't fare as well. The supporting actors are quite good as they ham it up. (Between the costuming and the mincing portrayals, this is about the "gayest" film prior to "Priscilla, Queen of the Desert".) It's been 85 years since this film was produced and I have yet to see a better light-bulbs-in-the-hair do than Salome's. You really have to give Rambova (and Beardsley) credit for their vision.As for the story...you guessed it: John the Baptist dies.Give this short silent flick a chance, if you have the opportunity.
didi-5
Having read the reviews of this on the Silents Majority website and in Time Out film guide I was curious. It looked good from stills and the play is one of my favourites ... the film is extremely odd. Nazimova, who looks like Gloria Swanson only more over the top, is a seductive and teasing Salome, dancing the seven veils with style, driving Herod mad, taunting the Baptist (a gaunt stick of a man who is quite disturbing to look at). The guards are all extremely camp and OTT and the whole film has that feeling of the extremes of twenties decadence. One feels Wilde would have approved. Not a patch on the opera but a decent stab at a play which is full of excess. It just wouldn't work with sound. It has to be images, and this is full of them.
