Salomé (1923)

Director: Charles Bryant                              Writer: Natacha Rambova
Film Score: Ulderico Marcelli                       Cinematography: Charles Van Enger
Starring: Alla Nazimova, Mitchell Lewis, Rose Dione and Nigel DeBrulier

Called an “Historical Phantasy” in the opening titles, it certainly is that. Salomé makes no attempt to be historically accurate and the film suffers for it, relying too heavily on Oscar Wilde’s stage play it’s completely stage bound, the entirety of the action taking place on one set. More of a showcase for Natacha Rambova’s production design and costumes the picture is avant garde, similar to a minimalist Shakespearian production rather than a realistic telling of the biblical story. The sets are minimalist, painfully “artistic” and actually distracting from the performance, but it’s pretty clear that was the point. But it’s not just the sets, the acting is heavily stylized as well, and in the end it’s a pretty disappointing silent film.

The story is a familiar one as the scene opens on a banquet given by the King Herod in which Nazimova, as the title character, is ogled by everyone, especially the king. She leaves the banquet and goes to the jail cell of John the Baptist, who is being held prisoner and fascinates to her. She asks him to kiss her, but of course he refuses because he believes that her ways are wicked. It’s then that she takes the King up on his offer. Herod has told her that if she dances for him that she may have anything she wishes. She dances for him and then, in a petulant rage, asks for the head of John the Baptist on a silver tray so that she may kiss him after all.

In terms of the costumes Nazimova has her hair done up like she wearing a head full of electrified curlers, very Medusa like. She was actually 42 years old at the time of the production, bringing to mind the plot of Sunset Boulevard when Gloria Swanson wanted to play the character as well. Perhaps she was remembering Nazimova’s middle-age performance and thought she could do better. With her small, lithe body she does manage to pull it off as long as she’s not in close up where her age becomes obvious. Rose Dione as the queen looks as if she’s in a conditioner commercial her hair is so frizzed out. The rest of the costumes make the actors look like clowns. With the paucity of silent films still in existence, it’s a shame so many enticing films are gone while this one still exists. Salomé may be an attempt at art for art’s sake but, ultimately, it fails to entertain.