Watch Salome / Lot in Sodom Movie Online
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Watch Salome / Lot in Sodom Movie Online.
Movie Title: Salome / Lot in Sodom Salome / Lot in Sodom is available for streaming or downloading. |
Oscar Wilde’s 1892 retelling of the Bible narrative of Salome, who danced before Herod to rep the death of John the Baptist, was considered so execrable that the High Lord Chamberlain of England refused to grant it a license for public performance–and in the wake of Wilde’s ghastly 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 cloak was concerned. No one dared assume it until Russian-born Alla Nazimova, who is generally credited with bringing Stanislaski technique to the Unusual York stage, decided to film it in 1923.
It proved a concern. Theatergoers in tall cities might be prepared to acquire Wilde’s lighter plays, but Main Street America was an entirely different matter–especially where the noted 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 Delighted cast” in honor of Wilde himself. Critics, censors, and the public damned the film correct and left. It received only runt distribution and ancient fast from understanding. Even so, the chronicle of both the film and its exotic star grew over time. And so now, some eighty years after its creation, Nazimova’s SALOME is at last widely available to the public in this DVD release, which packages it alongside the 1933 art-short LOT IN SODOM.
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Given that distinguished of the novel play’s power is in Wilde’s language, SALOME suffers from translation to quiet film–the title cards are often awkwardly long, and in general fail to recount the tone of Wilde’s voice; moreover, the convolutions of the unusual have been necessarily simplified for the soundless get. Even so, it is a grand 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 acquire Nazimova’s soundless CAMILLE), the recognize of the film seeks to reproduce the playscript’s equally cross illustrations by Aubrey Beardsley–and succeeds to a much 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 stop up, she is remarkably effective in capturing the willful, petulant, and ultimately harmful Salome in facial expression and body posture, balancing an over-the-top style with moments of still realism to most powerful accomplish. The supporting cast is also quite memorable, with Mitchell Lewis (Herod) and Rose Dione (Herodias) particularly necessary.
The accompanying LOT IN SODOM is related to SALOME only in the sense that it too has a Biblical theme. Created by J.S. Watson and Melville Webber, this 1933 film is less “art” than “experimental,” and consists largely of double, triple, and quadruple exposures of writing and often seminude bodies–and while it clearly influenced later experimental filmmakers such as Kenneth Inflame, it is perhaps best regarded as an exciting curiosity.
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SALOME is not, perhaps, a “spacious” film in the conventional sense–and given the technical limitations and social restrictions of the era it never could have been–but it is not for want of trying, and it is worth noting that its designs and style have cast a very long shadow; indeed, when Ken Russell site out to film SALOME as a “play within a play” for the film THE LAST DANCE OF SALOME, he borrowed ideas quite liberally from Nazimova’s unique. While it is no more likely to appeal to today’s rank-and-file viewer than it did eighty years ago, it is a must-own for those keen in tranquil film, who will likely salvage it enthralling and frustrating in equal degrees.
LOT IN SODOM does not appear to have been significantly restored in any design, and the short film is riddled with scratches and blips and assorted artifacts. SALOME, however, has been restored; even so, the film was neglected for many years, and the restoration represents a “best case” plot rather than “mint.” The DVD offers the option of two soundtracks for SALOME; for myself, I preferred the Garza-O’Meara find performed by Tranquil Orchestra, but both are quite noble, each in its absorb method. Recommended to mute film fans with a taste for the unexpected.
GFT, Amazon Reviewer
If proof were ever needed that quiet films were an art beget unto themselves as opposed to fair a stale warm up to the talkies then Alla Nazimova’s SALOME’ is it. Even 80 years after its initial release SALOME’ remains art with a capital A. This is not necessarily a satisfactory thing as works that tumble into that category are more often than not appreciated only by a purchase few.
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The production is based on Aubrey Beardsley’s imperfect drawings of Oscar Wilde’s even more imperfect play. In this respect the film is a complete success with credit for the make going to Natacha Rambova (Valentino’s wife who was originally born Winifred Shaughnessy Hudnut) who worked closely with Nazimova to perform what is probably the most stylized film ever made. It is this ultra stylization which makes the film so utterly bizarre even to today’s audiences.
Once seen the film cannot be forgotten as there are enough memorable images in it to contain 10 movies. Nazimova is utterly mesmerizing as Salome’ with Mitchell Lewis’ Herod one of the most decadent looking figures you’ll ever recognize (Fellini MUST have seen this movie) while Nigel De Brulier’s Jokaanan radiates spirituality.
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The film was a celebrated flop in its day so special thanks go to Image Entertainment and all who worked on this restoration to fabricate the film available once again as very few people have ever seen it. It has some signs of minor decomposition but these are hardly noticeable and with 2 scores to decide from you accumulate to remove the one that works best for you.
The second fragment of the double bill is the experimental short film LOT IN SODOM which was made in 1933. While objective as artistic in its expression as SALOME’, it lacks the delirious visuals that build Nazimova’s film so memorable but it makes a nice companion portion for the DVD. An beneficial disc for the peaceful film enthusiast and the more discriminating movie buff.
TOBI Steamer
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