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《萨乐美》(Salome, 1923) 美国默片先锋艺术电影，艾拉·娜兹莫娃自导自演，改编自王尔德同名戏剧。圣经叙事重构：禁欲先知与欲望公主的权力博弈，乱伦凝视与死亡之舞的母题交织。高度风格化美学：奥伯利·比亚兹莱黑白插画视觉、巴黎定制银色戏服、极简布景与夸张表演，室内控光营造压抑迷幻氛围。酷儿电影先驱：全男扮女装宫廷、刻板同性恋卫兵形象，娜兹莫娃女同身份投射，1989年纽约国际女同性恋与男同性恋电影节展映。独立制作巨亏、国家电影 Registry 典藏。适合喜欢王尔德戏剧改编、德国表现主义、坎普美学、《石榴的颜色》帕拉杰诺夫、德里克·贾曼的读者。
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.
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