Summary
In this early cinematic exploration of biblical decadence, Herodias emerges as a Machiavellian architect of ruin, forsaking her husband Philip of Iturea for the tetrarchy of his brother, Herod. The narrative is anchored by the 'Prison of Bronze,' a metaphorical and literal crucible where John the Baptist’s prophetic denunciations echo against the walls of moral decay. As Herodias orchestrates Philip’s assassination through a subservient proxy, the film transitions into a fever dream of guilt and obsession. Salome, the daughter of Herodias, becomes the vessel for both unrequited holy love and catastrophic vengeance. Spurned by the ascetic Baptist, her desire curdles into a murderous demand, catalyzed by Herod’s voyeuristic weakness. The climax—a dance of lethal negotiation—culminates in the iconic decapitation, leaving a legacy of horror and divine disgust that reverberates through the silent era's theological epics.
Synopsis
Herodias, wife of Philip of Iturea, gives her affections to her husband's brother, Herod. Their secret passion is discovered by John the Baptist. He denounces them, but, so great is his power in the land, that none dare silence him. Succumbing to the temptation of Herodias, Herod betrays his brother and casts him into the Prison of Bronze, where he is left to languish. Herodias now plots to rid herself of her husband, and she finally prevails upon a negro servant to go to the Prison of Bronze and strangle him. When Philip is dead, his brother Herod is proclaimed, 'midst great pomp, Tetrarch in his stead. For a time he rules wisely, but can never drive away the pangs of conscience that are his constant companions. Herodias next prevails upon Herod to seize and imprison John the Baptist, who is obtaining a strong hold over the people. Weakly Herod fulfills her wish, and the prophet is cast into the Prison of Bronze. St. John is beloved by Salome, the daughter of Herodias, but he spurns her affection. In vain does she visit him in the Prison of Bronze, and attempts to lure him into her power. Herod becomes possessed of an insurmountable desire to see Salome dance. This desire is discerned by the watchful Herodias and promptly frustrated. The populace begin to demand the release of John the Baptist, and fear possesses Herodias lest he should be liberated and again denounce her to the people. The visit to Herod of the Roman judges is an occasion for much feasting and merrymaking. It is at a feast given in honor of his guests that Herod requests Salome to dance. She refuses, but Herod maintains his entreaties, and finally says that he will give her anything she cares to ask for it she will dance. Salome is puzzled what to accept, but her mother creeps to her side, and, like the evil serpent, suggests that she shall ask for the head of John the Baptist. Spurned affection turns to hate of a like intensity, and Salome sees in this her chance to avenge the affront offered her by St. John. She asks tor his head. Herod regrets his rash promise, but his regrets are soon charmed away by the witchery of the dancer. When Salome has finished dancing the head is brought to her. The sight of this strikes terror to the heart of Herod, and he sees his guests shrinking from him in disgust. Too late, he seeks to repair the evil done by commanding his soldiers to seize Salome and put her to death.
Review Excerpt
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The silent era was never merely a period of technical gestation; it was a theater of grandiloquent ambition where the boundaries of morality and visual storytelling were constantly being renegotiated. La Salome (1910), a production that predates the more widely recognized biblical epics, stands as a testament to this era's fascination with the carnal and the divine. While contemporary audiences might look toward the expansive vistas of Glacier National Park for naturalistic awe, ..."
