剧团导演正在与舞者们排演弗兰明戈舞蹈版的《莎乐美》，预演排练，分工调度，各抒己见。终于，这场致命的绝伦之舞上演了。美艳性感的少女莎乐美（阿伊达·戈麦兹 Aída Gómez 饰）的母亲希罗底（卡门·维莱那 Carmen Villena 饰）原本是希律王（帕科·莫拉Paco Mora 饰）的嫂子，在杀害自己丈夫后改嫁希律王。施洗约翰（哈维尔·托卡 Javier Toca 饰）为此谴责了她，希罗底怀恨在心。施洗约翰试图阻止这段婚姻，被希律王困于狱中。情窦初开的莎乐美在施洗约翰面前跳起充满崇拜之情的示爱之舞，却遭到拒绝。在希罗底的怂恿下，莎乐美在希律王面前跳了一段妖魅赤裸的七层纱之舞，希律王大悦，答应满足莎乐美提出的一切请求。莎乐美淡淡地说，请把施洗约翰的头颅放在盘子里，拿来给我。 　　本片改编自英国19世纪最富盛名的剧作家奥斯卡·王尔德的同名戏剧作品《莎乐美》，将《圣经·新约》中那段纠缠在极端与扭曲中的危情虐恋，在极度精美而极富形式感的画面与光影中，狂舞不止，直至死亡。

剧团导演正在与舞者们排演弗兰明戈舞蹈版的《莎乐美》，预演排练，分工调度，各抒己见。终于，这场致命的绝伦之舞上演了。美艳性感的少女莎乐美（阿伊达·戈麦兹 Aída Gómez 饰）的母亲希罗底（卡门·维莱那 Carmen Villena 饰）原本是希律王（帕科·莫拉Paco Mora 饰）的嫂子，在杀害自己丈夫后改嫁希律王。施洗约翰（哈维尔·托卡 Javier Toca 饰）为此谴责了她，希罗底怀恨在心。施洗约翰试图阻止这段婚姻，被希律王困于狱中。情窦初开的莎乐美在施洗约翰面前跳起充满崇拜之情的示爱之舞，却遭到...

The Biblical story of Salome, a girl who agrees to perform the "dance of the seven veils" in return for John the Baptist's head on a silver platter.

The Biblical story of Salome, a girl who agrees to perform the "dance of the seven veils" in return for John the Baptist's head on a silver platter.

莎乐美（特蕾萨·斯特拉塔斯 Teresa Stratas 饰）是风情万种的美丽少女，她的母亲希罗底曾经犯了弑父之罪，之后改嫁希律王。施洗约翰（Hans Beirer 饰）非常鄙视希罗底曾经犯下的罪孽，对她出言不逊，希罗底因此怀恨在心，并且开始寻找报复施洗约翰的机会。 　　希律王将施洗约翰关入牢中，他的坚贞和正义吸引了莎乐美的注意，莎乐美在施洗约翰面前跳了一支求爱之舞，但施洗约翰不为所动。之后，莎乐美又在希律王面前表演了美妙绝伦的七层纱之舞，龙颜大悦的希律王答应满足莎乐美的一切要求。

莎乐美（特蕾萨·斯特拉塔斯 Teresa Stratas 饰）是风情万种的美丽少女，她的母亲希罗底曾经犯了弑父之罪，之后改嫁希律王。施洗约翰（Hans Beirer 饰）非常鄙视希罗底曾经犯下的罪孽，对她出言不逊，希罗底因此怀恨在心，并且开始寻找报复施洗约翰的机会。 　　希律王将施洗约翰关入牢中，他的坚贞和正义吸引了莎乐美的注意，莎乐美在施洗约翰面前跳了一支求爱之舞，但施洗约翰不为所动。之后，莎乐美又在希律王面前表演了美妙绝伦的七层纱之舞，龙颜大悦的希律王答应满足莎乐美的一切要求。

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.

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.

亚伯拉罕和他的儿子以萨克在旅途中遇到了一位戴着七层黑纱面纱的神秘女子，名叫萨乐美。（伊莎贝尔·梅斯特雷斯 Isabel Mestres 饰）。她以她迷人的舞姿吸引了亚伯拉罕，并用诱惑之辞请求他做出一个不可思议的举动：砍下以萨克的头颅。 　　亚伯拉罕陷入了诱惑的纠结中，他愿意为这位迷人的女子付出一切。然而，正当他即将执行这个可怕的命令时，以萨克意识到危险，迅速逃离现场。然而，萨乐美施展催眠术将以萨克带回了亚伯拉罕的面前。当亚伯拉罕再度准备行动时，萨乐美突然变成了一团火焰，并传来了神圣的声音。原来，萨乐美实际上是上帝的化身，她的目的是考验亚伯拉罕是否会犯下凡人的罪孽。为了惩罚亚伯拉罕，上帝命令他永远带着萨乐美在舞蹈时揭下的面纱，并将其留在身上。

亚伯拉罕和他的儿子以萨克在旅途中遇到了一位戴着七层黑纱面纱的神秘女子，名叫萨乐美。（伊莎贝尔·梅斯特雷斯 Isabel Mestres 饰）。她以她迷人的舞姿吸引了亚伯拉罕，并用诱惑之辞请求他做出一个不可思议的举动：砍下以萨克的头颅。 　　亚伯拉罕陷入了诱惑的纠结中，他愿意为这位迷人的女子付出一切。然而，正当他即将执行这个可怕的命令时，以萨克意识到危险，迅速逃离现场。然而，萨乐美施展催眠术将以萨克带回了亚伯拉罕的面前。当亚伯拉罕再度准备行动时，萨乐美突然变成了一团火焰，并传来了神圣的声音。原来，萨乐美实际上是上帝的化身，她的目的是考验亚伯拉罕是否会犯下凡人的罪孽。为了惩罚亚伯拉罕，上帝命令他永远带着萨乐美在舞蹈时揭下的面纱，并将其留在身上。