选集列表
剧情简介
Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the 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 (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after. Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development. Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards. No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career. A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag. Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival. In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.
观众心声
三星半，舞有点太儿戏了，整体呈现偏现代戏剧，配乐很好
对王尔德和比亚兹莱美学的影像还原，剧场的形式性和先锋感，舞蹈部分也想到Isadora Duncan：现代性恰恰源始于一种向古典的运动能量的回归。从1890s到1920s，延宕三十年的世纪末、颓废与象征。太欧洲了、太不好莱坞了，以至于只能在queer art的角落里生发。#Cambridge250312
Salomé—what a woman! What a part! The Princess in love with a Holy man. She dances the Dance of the Seven Veils. He rejects her, so she demands his head on a golden tray, kissing his cold, dead lips
7/10。表演痉挛的舞蹈般的运动，布景、服装上的抽象图案充满怪异的诱惑力，使之更接近一部表现主义电影，角色往往从墨色的舞台背景中悄然登场，这可以看出莎乐美对爱情的追求是纯洁的，只是身处罪恶的环境中，被希律王的贪恋所推动，采取激进的手段寻求爱情。从莎乐美爱上地牢中的施洗约翰，爱被约翰拒绝的莎乐美陷入疯狂，贪婪的希律王要求莎乐美陪侍、发誓同意莎乐美跳舞的条件，到舞罢莎乐美要求约翰的头颅、刽子手却接受约翰的洗礼，纯洁的月光被乌云遮蔽再变成血红色，象征莎乐美为爱痴狂的心，她亲自砍下约翰的头、放在衣袍下亲吻，镜头从莎乐美的特写转向露台上互投花朵嬉戏的两个小侍从，女性的觉醒与周遭的冷漠形成强烈对比，意识到爱比死亡更为神秘的莎乐美坦然赴死，镜头后拉至宴会全景，希罗底无助地瘫在座位上，看着女儿被包围的士兵刺死。
大家真都是埃及人啊