Horrible, fascist and poorly acted

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

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/

Oscar Wilde's 1892 retelling of the Bible story of Salome, who danced before Herod to win the death of John the Baptist, was considered so depraved that the High Lord Chamberlain of England refused to grant it a license for public performance--and in the wake of Wilde's scandalous exposure as a homosexual and his subsequent imprisonment, all of Wilde's plays were swept from the stage. Wilde, who died in 1900, never saw his play publicly performed.The worth of Wilde's plays were reestablished by the 1920s, but even so SALOME, with its convoluted and exotic language and hothouse sense of depravity, remained something of a theatrical untouchable--and certainly so where the screen was concerned. No one dared consider it until Russian-born Alla Nazimova, who is generally credited with bringing Stanislaski technique to the New York stage, decided to film it in 1923.It proved a disaster. Theatergoers in large cities might be prepared to accept Wilde's lighter plays, but Main Street America was an entirely different matter--especially where the notorious SALOME was concerned, particularly when the film was dogged hints of Nazimova's lesbianism and by the rumor that it had been done with an "all Gay cast" in honor of Wilde himself. Critics, censors, and the public damned the film right and left. It received only limited distribution and faded quickly from view. Even so, the legend of both the film and its exotic star grew over time.Given that much of the original play's power is in Wilde's language, SALOME suffers from translation to silent film--the title cards are often awkwardly long, and in general fail to convey the tone of Wilde's voice; moreover, the convolutions of the original have been necessarily simplified for the silent form. Even so, it is a remarkable thing in a purely visual sense. Directed in a deliberately flat style by Charles Bryant and designed by Natacha Rambova (wife of Valentino, she would also design Nazimova's silent CAMILLE), the look of the film seeks to reproduce the playscript's equally infamous illustrations by Aubrey Beardsley--and succeeds to a remarkable degree.And then there is Nazimova herself. Well into her forties at the time she played the teenage Salome, Nazimova is an electric presence: while she often shows her years in close up, she is remarkably effective in capturing the willful, petulant, and ultimately depraved Salome in facial expression and body posture, balancing an over-the-top style with moments of quiet realism to most remarkable effect. The supporting cast is also quite memorable, with Mitchell Lewis (Herod) and Rose Dione (Herodias) particularly notable.I would hesitate to recommend this film anyone other than someone already well versed in silent movies--and even then I would give the warning that it is unlikely to be what you thought it would. Still, this is a classic of its kind, and fans of silent cinema are urged to see it.Gary F. Taylor, aka GFT, Amazon Reviewer

In a mere 39 minutes this one set "pantomime" manages to be the most outrageously campy silent film ever. Get those guards, and their extreme poses -two of the gayest lads ever to grace the screen. And get that big budget for marshmallows -they all wear marshmallow necklaces and Nazimova has them popping out of every hair follicle. It's over the top silent posture acting at its worst but it's a lot of fun as well. Rambova deserved some sort of award or at least a nomination for her outrageous costumes (JESUS CHRIST SUPERSTAR owes everything to this production). You'll howl.

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.