Rating: 
Summary: The Wilde Party
Review: Nicely done version of the Oscar Wilde play. Unlike Russell's film of THE BOY FRIEND, which drowned straightforward source material in an ocean of pastiche and camp, the framing device here (a private performance of Wilde's play in a brothel on the night of his arrest) actually illumines, rather than obscures, the text. Nickolas Grace as Oscar himself is something of a nonstarter, but most of the cast rise (or sink) to the occasion; pleasant to see flashes of wit again from the usually sullen Glenda Jackson. Good design, and a marvelous performance from Imogen Millais-Scott, looking like the love child of Joan Greenwood and Quentin Crisp in the title role. Would make an interesting double-feature with Nazimova's notorious silent film.
Rating: 
Summary: Senuous version of Wilde's exotic play
Review: Rather than film Oscar Wilde's play, Salome, as a stand-alone piece, Ken Russell uses the time-honored technique of a play within a play, to present a fictional British premier of the play considered so decadent, the Lord Chamberlain banned it from the stage. Wilde did not see a production of Salome in his lifetime. In Mr. Russell's film, the guests and employees of Alfred Taylor's brothel present a fully staged performance of Salome for Wilde as a birthday present. Within this concept, Russell has each actor, except Wilde, play two parts in the film, one in the brothel, one in the play. Most remarkable of these is Imogen Millais-Scott who, the first time we see her, is a very timid, slightly stuttering maid, but who, in the play within the play, is none other than the seductive princess Salome. Besides having an intriguing face that can look thirteen one minute and sixty the next, she has a melodious, slightly odd speaking voice and intense line delivery. Nicholas Grace is the sensuous, slightly debauched Oscar Wilde, Glenda Jackson commands the stage as a dissipated, but regal queen Herodias/Lady Alice, and Stratford Johns gives a detailed characterization as Herod/Alfred Taylor (the owner of the brothel). Russell himself appears with a fairly sizeable spoken role. There are only two extra features on this DVD: the inevitable trailers (not particularly interesting) and a commentary by the director Ken Russell which is both fascinating and enlightening. Mr. Russell readily describes his creative process, explains some of the choices he made in the film, and relates a few interesting anecdotes about the actors, all the while dropping bits of information about the music he chose for the film and why. This is not an appropriate film for children. It contains nudity, some crude gestures, and sexual situations.
Rating:
Summary: Senuous version of Wilde's exotic play
Review: Rather than film Oscar Wilde's play, Salome, as a stand-alone piece, Ken Russell uses the time-honored technique of a play within a play, to present a fictional British premier of the play considered so decadent, the Lord Chamberlain banned it from the stage. Wilde did not see a production of Salome in his lifetime. In Mr. Russell's film, the guests and employees of Alfred Taylor's brothel present a fully staged performance of Salome for Wilde as a birthday present. Within this concept, Russell has each actor, except Wilde, play two parts in the film, one in the brothel, one in the play. Most remarkable of these is Imogen Millais-Scott who, the first time we see her, is a very timid, slightly stuttering maid, but who, in the play within the play, is none other than the seductive princess Salome. Besides having an intriguing face that can look thirteen one minute and sixty the next, she has a melodious, slightly odd speaking voice and intense line delivery. Nicholas Grace is the sensuous, slightly debauched Oscar Wilde, Glenda Jackson commands the stage as a dissipated, but regal queen Herodias/Lady Alice, and Stratford Johns gives a detailed characterization as Herod/Alfred Taylor (the owner of the brothel). Russell himself appears with a fairly sizeable spoken role. There are only two extra features on this DVD: the inevitable trailers (not particularly interesting) and a commentary by the director Ken Russell which is both fascinating and enlightening. Mr. Russell readily describes his creative process, explains some of the choices he made in the film, and relates a few interesting anecdotes about the actors, all the while dropping bits of information about the music he chose for the film and why. This is not an appropriate film for children. It contains nudity, some crude gestures, and sexual situations.
Rating:
Summary: Salome's Last Dance
Review: Salome's Last Dance is a bizarre, yet well-acted film that mixes a campy performance of Oscar Wilde's French-decadent play, witty in-joke quotes, and a nose-tweaking of history, to eventually create a film that while may turn off many with its strangeness, is an interesting homage to the play's author and the period. The performances are wonderful, especially Glenda Jackson's Herodias and Imogen Millais-Scott as Salome. I was a little disappointed in Nickolas Grace's Oscar Wilde, though. He tries, but he's just no Stephen Fry, and his performance lacks a certain spark. The other actors seem equally at home in the forums of period piece and camp drama, and although seemingly done on a low-budget, the film looks great. I would recommend this to any Oscar Wilde fan, as well as anyone who enjoys just plain strange movies.
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