SALOMÉ (1922)

In this silent film version of the Oscar Wilde play, based on a story from the gospels, Herod has married Herodias, his brother's widow, but he lusts after his stepdaughter Salomé (Alla Nazivoma, at left), who is also lusted after by Narraboth, the Captain of the Guard. But Salomé only has eyes for the imprisoned John the Baptist, mostly out of stubbornness because he stoically resists all of her erotic entreaties. One night at a large feast, Salomé ignores her stepfather and flounces about outside as Narraboth pines away, in thrall to both her and the full moon. She connives to get John, shaggy and dressed only in a ratty loincloth, released from his underground cell and taunts him with demands for a kiss: "Suffer me to kiss thy mouth! I will kiss thy mouth!" He remains defiant, and when what looks a shadow of a fist passes over the moon, he proclaims that the Angel of Death is nigh. The petulant Herod demands Salomé's attention, offering her anything she wants if she'll dance for him. Her demand: the head of John the Baptist on a silver platter—she'll get her kiss one way or another.

The production of this silent film was overseen by the star, often known just by her last name of Nazivoma, directed by her husband Charles Bryant, and written and designed by Natacha Rambova (wife of Rudolph Valentino). The ravishing look of the film is by far the best reason to watch it. Rambova's large set encompassing both the feasting hall and an attached outdoor balcony is inspired by the illustrations of Aubrey Beardsley who did the drawings for Wilde's published play, as are the costumes. Unfortunately, the rest of the movie has dated rather badly; your tolerance for exaggerated acting and a camp atmosphere will determine your ability to stay with this to the end.

On balance, I enjoyed this. I watched it as if it were a ballet or a highly ritualized drama, like something performed for acolytes of an ancient mystery religion, which, if we're to believe the rumors, may be close to the truth—supposedly, the entire cast and creative crew were gay or bisexual. I suspect that is not true, and even if it were, I don't know that the film "reads" gay. On the other hand, there is the strange performance of Earl Schenck as Narraboth, who despite his pining for Salomé, seems more interested in messing around with his buddy, Herodias' page, who holds Narraboth's hand and paws at him constantly (pictured at right). Nazivoma is far too old to be playing the teenaged Salomé—frequently seen in close-up, she looks every one of her 42 years—and her facial reactions are never subtle, a problem which is not her fault entirely, as that seems to have been the style in the early 20s. Nigel de Brulier gives an oddly mannered performance as John the Baptist (called Jokaanan here, as in the Wilde play), consisting entirely of looking up or off in another direction instead of at whoever's talking to him. The inevitable beheading and kiss are not shown, perhaps because of skittish censors, which is rather disappointing for a production that is at its best when it heads over the top. It's worth staying to the end, if only for the last shot of Salomé surrounded by men with spears, about to kill her on Herod's command, and the intertitle "The mystery of love is greater than the mystery of death." I don’t think Salomé loved anyone here—her desire to kiss John seems to spring for a desire to humiliate him and to hurt Herod far more than any love—but it's an interesting note on which to close. [DVD]