In the reign of emperor Tiberius, Gallilean prophet John the Baptist preaches against King Herod and Queen Herodias. The latter wants John dead, but Herod fears to harm him due to a prophecy. Enter beautiful Princess Salome, Herod's long-absent stepdaughter. Herodias sees the king's dawning lust for Salome as her means of bending the king to her will. But Salome and her lover Claudius are (contrary to Scripture) nearing conversion to the new religion. And the famous climactic dance turns out to have unexpected implications...
One of Al Pacino's directory experiments, Salomé was filmed over 5 days in 2011, but has yet to be widely released. It is a part of a double feature on the Oscar Wilde short play "Salomé", together with the Venice-shown documentary "Wilde Salomé", that shows the making of this film. The synops shown on IMDb for the 1923 take on the play goes as following: "Salome, the daughter of Herodias, seduces her step-father/uncle Herod, governor of Judea, with a salacious dance. In return, he promises her the head of the prophet John the Baptist."
Short film by Almodovar, which tells the origin of the veil.
John the Baptist, the prophet of Israel, is imprisoned by Herod, governor of Judea for protesting Herod's marriage to his brother's wife. Jealousies rage and Herod's step-daughter and niece Salome seduces Herod by means of a torrid dance to give her the head of the prophet - but then tries to save the life of the man she has thus condemned. Updated to a WWII setting
A psychedelic re-telling of the biblical story. Salome is the daughter of the second wife of King Herod. The King is infatuated with her and after she fails to seduce the prophet John (The Baptist) she dances for the King in order to ask for his execution. The story is told in a bizarre way of fast cuts, repetitive dialogue and extreme satire.
Having tackled Carmen, Cleopatra, and Madame Du Barry, the screen's foremost vamp, Theda Bara, was of course destined to play Salome as well. Her performance came complete with a shoulder length black wig and a silly-looking paper mache head of John the Baptist (portrayed, until his unfortunate decapitation, by Albert Roscoe). Bara played the character like she had any of her earlier so popular vixens but the studio, Fox, had no real confidence in their waning star's drawing power and released the film without much fanfare in the middle of summer.
Based on Oscar Wilde's play telling the story of how Salomé agrees to dance for King Herod in return for the head of John the Baptist
The story starts as a seemingly simple crime of passion, Jimmy, the persistent suitor, is stabbed to death by Salome, the young and pretty wife of Kario, an ordinary farmer. But as the story unfolds, conflicting versions of the crime are given.
Oscar Wilde watches an outrageous staging of his banned play "Salome" at a London brothel, with parts played by prostitutes, Wilde's host, his lover Bosey, and Lady Alice.
Salomé's story interpreted by a director and a troupe of flamenco dancers.
Based on Oscar Wilde's version of the story, what is noteworthy is the sheer luxury of the production, an attempt to capture the wild and weird Aubrey Beardsley illustrations that transfigure the work. The sets are elaborate, with stonework and palm trees and draperies. There seem to be dozens of dress extras, courtiers at Salome's dance and soldiers.
A stylised interpretation of Oscar Wilde's play "Salome".
Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“
Portrait of the great chess master, aesthetician, human being, Eugene Salome.
Herodias, spurned by Egyptian prince who is in love with Salome, has him secretly thrown in dungeon next to the Baptist. Herodias threatens to kill her lover if Salome does not ask for death of the Baptist. Salome does so, later rescues the prince and flees with him into the desert.
The Biblical story of Salomé, an alluring teenage girl wracked with anguish at being coerced by her mother into committing an act of the most heinous sin, is portrayed in modernized form.
This filmed version of Strauss' shocker features Teresa Stratas as opera's most depraved teenager, and she's as perfect a Salome as one would ever hope to see or hear. Stratas inhabits the role, exploring the character's sensuousness as she vainly woos Jochanaan, her venomous hatred when she's rejected, the crazed look in her eyes when she demands his head--on a silver platter, no less. Such complete identification with a role, especially of a character so malignant helps make this 1974 Salome stand out among the many fine DVDs of the opera.
This film is not an illustration of a historical narrative or a play but it is structured by its own dynamic and three basic elements: light, color and projection speed. Through their interaction it is the viewer. The film offers a questioning: 1) it generates that is to say, its own history; 2) the imagination of the viewer and his glance; 3) the only Outside questioned: the fate of the image that is his only chance to be. (...)
Richard Strauss's opera, from the Royal Opera House, Covent Garden.
Salomé is a Mexican Telenovela that aired from October 22, 2001 until May 17, 2002, and it's starred Edith González and Guy Ecker.