Screen Opinions (1923-24)

ALL THE "TRUTH” ABOUT PICTURES 211 “SALOME”— Class AA (Adapted from play of same name) Story: — John the Baptist’s Denunciation of Salome’s Passion Brings Death Sentence VALUE CAST Photography — Masterful — Charles Van Enger. Salome Nazimova TYPE OF PICTURE — Impressionistic. Herodias Rose Dione Moral Standard — Average. Herod Mitchell Lewis ■ — — 1 ■ ' ■ ■ ' ■ Jokanaan Nigel de Brulier Story — Masterful — Drama — Adults. Young Syrian Earl Schenck Star — Masterful — Nazimova. Page of Herodias Arthur Jasmina Author — Masterful — Oscar Wilde. Naaman Frederick Peters Direction — Masterful — Charles Bryant. Tigellinus Luis Dumar Adaptation — Masterful — Peter M. Winters. Spiritual Influence — Good. February 15 to 28, 1923. Producer — Nazimova Productions Footage — 5,000 ft. Distributor — Allied Artists Our Opinion MORAL O’THE PICTURE— Unquenchable Fire of Faith. Startlingly Beautiful Screen Impression of Tragedy of Salome’s Passion for John the Baptist — Nazimova Superb It is presupposed that Nazimova’s “Salome” was made for the selective audience rather than for the ordinary picture houses. To say merely that the production is startlingly beautiful conveys nothing of its real character, which is of the impressionistic order, strangely grotesque in detail, and constructed to portray in pantomime the soul of the tragedy of Salome and John the Baptist, who is called in the play Jokanaan. Of such simplicity is the technique of this picture that when it is finished the average person accustomed to the modern sensation with the big climax will still be waiting for something to happen, while the intellectual observer will be thrilled with the suggestions that in accordance with the method of interpretation have been left for the imagination to paint in its own way. Nazimova is superb in the role of Salome, which she plays in a peculiarly restrained fashion, suggesting the soul of the woman groping on the verge of the spiritual, yet unable to recognize anything beyond the limits of physical emotion. Mitchell Lewis, as Herod, gives the big performance of his career, and Rose Dione, as Herodias, also tops her screen efforts. After Nazimova, the outstanding figure in the picture is Nigel de Brulier. It would be difficult to imagine anything more truly spiritual in conception than his portrayal of the prophet, John the Baptist. Three exceptional moments in the picture are the suicide of the keeper of the prison when he relinquishes the key to Salome, preferring death by his own hand to death by the methods of Herod. Salome’s reception of the head of John, in a mood between fear and delight, for now she could kiss in death the lips that had refused to meet hers in life; and the putting to death of Salome at the command of Herod, who has been tricked into destroying the prophet against his better judgment. Nazimova’s costume for this play, fitted to her form like a coat of armor, displays slender, shapely limbs bared from the thigh, bare arms and neck. To this costume is added a strange head dress that bristles with pearls. The effect is artistic and not vulgar. Charles Bryant is deserving of the greatest praise for his part in the making of an exceptional production, in conjunction with excellent support on every angle. Exhibitors booking this picture should be sure that their patrons are of a class to appreciate the high art projected in “Salome.” They should also avoid advertising it as other than it is; for those expecting a sensation will be disappointed. Bill it as unusual and of biblical significance, and in the better class sections the name of the author, Oscar Wilde, should form a drawing combination with that of the star, Nazimova. STORY OF THE PLAY Salome, the daughter of Herodias, wife of Herod, loves Jokanaan, who has been imprisoned by Herod. For a smile from the beautiful Salome the captain of the guard causes the key of the prison to be given to her. After using all her arts to obtain a kiss from the prisoner, who denounces her as unholy, she promises to dance for Herod on condition that he will grant her her greatest desire, and on obtaining a promise from Herod she asks that the head of Jokanaan be brought to her on a charger. Herod, dismayed on the one hand, and under the influence of the woman on the other, orders the execution, and Salome, after kissing the lips of the dead prophet, is herself put to death at the command of the angered Herod. (Continued on next page) No Advertising Support Accepted!