-Written by Kyle Bain.
King Herod (Zach Thomas), in a drunken stupor, entices his beautiful step daughter Salome (Jessie Epstein) to dance–promising her anything she desires in return. Her wish is not what Herod expected–and a night of potential fun and exhilaration quickly turns dark.
Salome opens to a vibrant nightlife scene, one that radiates passion, sex, and lust. These ideas are brought to life by the impeccable use of light, sound, and slow motion. Directors Austin Shell and Dylan Shell (The Shell Brothers) quickly set the scene, pulling viewers into it–developing something interestingly akin to envy. As I watched the birth of the scene I was engulfed in this beautiful moment, one filled with dancing, music, drugs, and an abundance of alcohol. Flashing lights and a powerful, modern take on classical music allow the scene to flow. This opening scene is nothing short of perfect, one of the best two minutes I’ve ever seen in film.
Enter Salome. As the stunning Salome traverses the club in which we are present she is slowed down, allowing her to glide across the floor, and every eye in the club follows her; and we, the viewer, are forced to as well (and her presence is so charming that it’s impossible not to want to look at her). Again the light plays a pivotal role in accentuating her beauty and her prowess, and while the use of light is intentionally Wilde, Salome is still the center of attention. This remains the case throughout the course of Salome–and the ways in which The Shell Brothers manage to accomplish this is quite impressive.
As the title of the film might suggest, Salome is the focus of this film. Everyone (or mostly everyone) present in this film is dressed elegantly, often wearing black and white–simple, but elegant. Salome on the other hand wears red, allowing her to stand out, allowing her to remain front and center throughout the duration of Salome. The only exception to this is Herod–and rarely do the characters share the screen in a similar capacity. It’s made clear who is meant to lead each scene, and the vibrant red of their outfits helps this be known.
With Salome being the most prominently featured (and one of only a few) woman in Salome, her voice, too, is used to separate her from the rest. Her higher, smoother voice both cuts through and creates tension throughout the film; and it often feels that The Shell Brothers work to amplify her voice to a degree to ensure that this aspect of her character is well received.
As a fan of Baz Luhrmann’s Romeo + Juliet (1996), Salome appeals to me in a similar way. While I wasn’t familiar with the story of Salome prior to watching this film, I adore the modern take that still adheres to the linguistic norms of the time in which the story would have originated. I appreciate the idea of blending both old and new, of creating something modern that still accepts and employs the same sophistication that one might have seen when Oscar Wilde would have initially developed this story.
In this modern telling of Wilde’s classic tale, The Shell Brothers do a formidable job of ushering it into a new generation of film and appealing to a new generation of viewers. Again, this reminds me of Luhrmann’s rendition of Shakespeare’s classic play, one that I truly adore–as Salome hits many similar notes. A truly epic venture into a sensual tale of passion and hatred, Salome is gripping from beginning to end.
Directed by The Shell Brothers.
Written by Austin Shell & Oscar Wilde.
Starring Jessie Epstein, Zach Thomas, Austin Shell, Bob Singleton, Evander Hodges, Garrett Murphy, etc.
8.5/10 = WORTH RENTING OR BUYING
