Salomé is a 1922 American silent drama film directed by Charles Bryant. The film stars Alla Nazimova, Mitchell Lewis, Rose Dione, Earl Schenck, Arthur Jasmine, Nigel De Brulier, Frederick Peters and Louis Dumar.
It is an adaptation of the 1891 Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist at the request of Herod's stepdaughter, Salomé, whom he lusts after. The film has often been cited as one of the first art films of the United States, and has also been described as a cult classic of queer cinema.
Plot
thumb|thumbtime=10|The full film
The film starts by giving context for the banquet that is about to unfold. The Tetrarch is said to have murdered his brother to obtain the throne and for access to his brother's (now his) wife and daughter. At some point after this coup, Jokanaan arrived from the desert and prophesizes the coming birth of Christ. He reveals the infidelity of Herodias, the Tetrarch's wife. With his wife furious, the Tetrarch locks Jokanaan away to protect him from great mobs.
Salomé, daughter of Herodias, is described as "... An uncontaminated blossom in a wilderness of evil", but despite this, is known as a girl who is unafraid to kill and does it as a form of affection". A new scene opens at Herod's palace, where the Tetrarch displays his intense obsession with Salome, his stepdaughter and niece, thus angering Herodias. Salomé leaves this and enters the courtyard from the banquet hall. She charms a young guard to allow her to see Jokanaan.
He is brought up from his prison below. Salomé displays a deep obsession for the Prophet. After he ignores her affections, she expresses her intent to kiss him. The young guard Salomé had previously charmed takes a blade to his own chest. Unmoved by this, Salomé continues to pester Jokanaan, causing him to retreat back to his prison. This infuriates Salomé, and she waits just outside his cell door. Seeking his stepdaughter, the Tetrarch stumbles out into the courtyard and finds the body of the young guard. He is horrified, as he did not order for anyone to be killed.
After the initial horror subsides, the Tetrarch orders the banquet to be served outside, so Salomé is visible while he eats. He begs her to join and dance for him and his guests, promising anything she desires. Salomé realizes she can use this to kill the man she loves, Jokanaan. She knows her stepfather would keep him removed in his cage otherwise, and her mother also despises him.
thumb|200px|left|Death scene with spears
Salomé performs The Dance of the Seven Veils, which greatly pleases The Tetrarch. In return, Salomé asks for Jokanaan's head to be delivered to her on a silver platter. The Tetrarch is horrified by this request and offers multiple alternatives. Cheered on by her mother, Salomé insists on the head of Jokanaan. When delivered the head, Salomé hides it under her long train and kisses it, which she had desired from their first meeting. Seeing this, the Tetrarch orders the execution of Salomé. Guards rush her with spears.
The final title card shows the words:
Cast
- Alla Nazimova as Salomé, Stepdaughter of Herod
- Mitchell Lewis as Herod Antipas, Tetrarch of Judea
- Rose Dione as Herodias, wife of Herod
- Earl Schenck as Narraboth, Captain of the Guard
- Arthur Jasmine as Page of Herodias
- Nigel De Brulier as Jokanaan, the Prophet
- Frederick Peters as Naaman, the Executioner
- Louis Dumar as Tigellinus
Background and production
Nazimova financed the project herself at a cost of $350,000 In November 2018, Kino Lorber included a digitally restored version in the Pioneers: First Women Filmmakers box set.
Critical reception
Contemporaneous reviews (1922)
Film critic Laurence Reid opined "this is an ambitious effort — taking Oscar Wilde's tragedy and attempting to make screen entertainment from it. The picture may appeal to one's artistic sense but it offers no entertainment and won't be a sell-out for the exhibitor. In the first place it is too arty — too far over the heads of the everyday patrons, the majority of whom will wonder why it has been screened at all. In the second place it travels on one key which is not received by any variety of scenes or conversation. There is only one setting, the background of which has been blackened out, and the foreground containing a banquet table and a representation of marble columns, which, while simple and artistic in design, would be far more effective if Wilde's beautiful words were audibly expressed."