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Watch Salome / Lot in Sodom Online

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Movie Title: Salome / Lot in Sodom
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Oscar Wilde’s 1892 retelling of the Bible chronicle of Salome, who danced before Herod to earn the death of John the Baptist, was considered so disagreeable that the High Lord Chamberlain of England refused to grant it a license for public performance–and in the wake of Wilde’s unsuitable 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 shroud was concerned. No one dared judge it until Russian-born Alla Nazimova, who is generally credited with bringing Stanislaski technique to the Unique York stage, decided to film it in 1923.

It proved a difficulty. Theatergoers in mountainous cities might be prepared to pick up Wilde’s lighter plays, but Main Street America was an entirely different matter–especially where the famous 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 Satisfied cast” in honor of Wilde himself. Critics, censors, and the public damned the film true and left. It received only slight distribution and used rapidly from opinion. Even so, the story 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 noteworthy of the fresh play’s power is in Wilde’s language, SALOME suffers from translation to tranquil film–the title cards are often awkwardly long, and in general fail to yelp the tone of Wilde’s voice; moreover, the convolutions of the current have been necessarily simplified for the soundless fabricate. Even so, it is a great 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 obtain Nazimova’s calm CAMILLE), the recognize of the film seeks to reproduce the playscript’s equally rotten illustrations by Aubrey Beardsley–and succeeds to a distinguished 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 discontinuance up, she is remarkably effective in capturing the willful, petulant, and ultimately wicked Salome in facial expression and body posture, balancing an over-the-top style with moments of mild realism to most noteworthy execute. The supporting cast is also quite memorable, with Mitchell Lewis (Herod) and Rose Dione (Herodias) particularly critical.

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 Infuriate, it is perhaps best regarded as an enchanting curiosity.

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SALOME is not, perhaps, a “expansive” film in the old 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 position 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 recent. 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 eager in quiet film, who will likely regain it engaging and frustrating in equal degrees.

LOT IN SODOM does not appear to have been significantly restored in any method, 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” region rather than “mint.” The DVD offers the option of two soundtracks for SALOME; for myself, I preferred the Garza-O’Meara accumulate performed by Tranquil Orchestra, but both are quite gracious, each in its possess scheme. Recommended to calm film fans with a taste for the unexpected.

GFT, Amazon Reviewer

If proof were ever needed that soundless films were an art obtain unto themselves as opposed to objective a worn 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 ample thing as works that drop into that category are more often than not appreciated only by a take few.

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The production is based on Aubrey Beardsley’s injurious drawings of Oscar Wilde’s even more injurious play. In this respect the film is a complete success with credit for the beget going to Natacha Rambova (Valentino’s wife who was originally born Winifred Shaughnessy Hudnut) who worked closely with Nazimova to execute 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 own 10 movies. Nazimova is utterly mesmerizing as Salome’ with Mitchell Lewis’ Herod one of the most decadent looking figures you’ll ever examine (Fellini MUST have seen this movie) while Nigel De Brulier’s Jokaanan radiates spirituality.

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The film was a renowned flop in its day so special thanks go to Image Entertainment and all who worked on this restoration to effect 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 determine from you find to consume 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 unbiased as artistic in its expression as SALOME’, it lacks the delirious visuals that invent Nazimova’s film so memorable but it makes a nice companion fragment for the DVD. An pleasant disc for the soundless film enthusiast and the more discriminating movie buff.
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