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Epic films based upon the Bible were popular in the 1950s, but sometimes they were only very loosely so based. "Salome" is a case in point. The "damsel" whose seductive dance before King Herod led to the execution of John the Baptist is not actually named in the New Testament, but tradition has identified her with Princess Salome, the daughter of Queen Herodias and the niece and stepdaughter of Herod. She has traditionally been painted as the ultimate Bad Girl, a wanton teenage temptress whose thoughtless cruelty led to John's death.

Well, in this film Salome is no longer a teenager but a mature beauty in her mid-thirties. (Rita Hayworth would have been 35 in 1953). More importantly, she is no longer a Bad Girl. (The studio, apparently, did not want Rita to play a villainess). To begin with, she is proud and independent-minded, but gradually softens under the influence of John's teaching and eventually converts to Christianity. (A "Salome" is numbered among Christ's followers in Mark's Gospel, but this is generally believed to have been a different person). Yes, she still gets to perform her sexy "Dance of the Seven Veils", but her motives for doing so are the precise opposite of those attributed to her in the Scriptures. In this version she is dancing in the hope that she can thereby influence the King to spare John's life.

As the film opens, Salome is living in Rome, where she has lived for most of her life. She has fallen in love with Marcellus, nephew of the Emperor Tiberius, but he forbids their marriage, not wanting a member of his family to marry a "barbarian", and exiles her back to Galilee. Once there she finds herself in a complicated political situation, made more complex by the teachings of the Baptist who condemns Herod's rule and his adulterous marriage to his brother's wife. Herodias is furious, and demands that her husband condemn the Baptist to death for treason, but he is reluctant to do so, believing that he will be cursed if he does; his reluctance makes their already unhappy marriage even more strained. In the meantime, Salome has found a new boyfriend, the handsome Roman soldier Claudius, who shares her interest in John's teaching.

Some later Biblical epics were an odd mixture of godliness and sexiness, combining an improving Christian moral with plenty of bare flesh on display. An example is "Esther and the King" in which Queen Vashti (who in the Bible is banished for refusing her husband's command to "show the people and the princes her beauty") gets into hot water for quite the opposite offence, that of showing them more of her beauty than she should by stripping down to her panties in the Royal Palace. In 1953, however, the Production Code was more rigidly enforced, so "Salome" is, on the surface at least, more godly than sexy. Hayworth's dance is really a Dance of the Six Veils, as she never removes the seventh and therefore remains fairly modestly clad to the end.

Below that surface, however, there is a lot going on. Hayworth, as lovely in her thirties as she had been a decade earlier, was gifted enough, both as an actress and as a dancer, to convey a great deal of erotic allure even when fully clothed, and although the censors could come down hard on any explicit displays of nudity, this sort of subtle sexuality was much more difficult for them to control. "Salome" is far from being Rita's greatest film (that was probably "Gilda"), but that dance is one of her greatest moments. (She later claimed it was "the most demanding of her entire career" as the director William Dieterle demanded endless retakes).

Among the other actors, the best contribution comes from Charles Laughton as the slimily lecherous Herod. Laughton had a tendency to overact, but in a role like this overacting is not necessarily a bad thing. Easily the worst comes from Alan Badel, playing John the Baptist not so much as a prophet as a swivel-eyed religious maniac, the first- century Galilean equivalent of a Hyde Park soapbox preacher. Judith Anderson is good as Herodias, but Stewart Granger is a bit wooden as Claudius, possibly because his character does not have much to do except stand around to provide a love-interest for the leading lady.

"Salome" will never, in my opinion at least, rank alongside the grand epics like "Ben-Hur" or "Spartacus"; there is too much of the smell of cheesy Hollywood sanctimoniousness about it. It does, however, have its virtues, and is certainly better than the likes of "Esther and the King", "The Silver Chalice" or "Sodom and Gomorrah", all of which do not just smell of sanctimoniousness but positively reek of it. It makes enjoyable, if undemanding, watching on a Sunday afternoon. 6/10

Some goofs. Claudius and Pontius Pilate refer to their military service in Britain, but Britain was not a Roman province during the reign of Tiberius. And whatever persuaded the scriptwriter that Gila monsters (natives of Mexico and the American South-West) are to be found in Israel?

Salome certainly isn't a terrible film, far from it. But I do think, as a biblical epic it is flawed in many ways. The costumes and the scenery were a joy to the eyes, and the music was beautiful and a treat to the ears. The acting is pretty good too, with Stewart Granger handsome in his role, and Judith Anderson deliciously cruel as Herodias, though Anderson to be fair has given better performances in classics like And Then There Were None and Rebecca. Charles Laughton gives one of his career's weakest performances, but he is good as King Herod to some extent. The film's portrayal of John the Baptist from Alan Badel was also fine, but Salome's creme de la creme is Rita Hayworth in the title role. Entirely captivating and so beautiful, and she danced beautifully in Dance of the Seven Veils which also happens to be a scene from Richard Strauss's opera of the same name. However, the film's flaws include pedestrian pacing, an underdeveloped script and a story that suffers from a lot of tampering. Overall, deeply flawed, but watchable biblical film, that is worth watching if only for Hayworth and Dance of the Seven Veils. 6/10 Bethany Cox

While this film does vary from the biblical storyline, it's worth watching for Rita alone. She's a vision in all her scenes and very good in her part, culminating in her 'Dance of the Seven Veils', which is a treasure. {I only wish it wasn't montaged with the death of the Baptist.} Rita never looked lovelier than she does here and her Jean Louis costumes are all drop-dead gorgeous. Stewart Granger is pretty good, better than usual, he and Rita having good chemistry here. It's well cast, with actors Charles Laughton and Dame Judith Anderson both excellent as King Herod and Queen Herodias. Arnold Moss is slithering as the evil adviser to Queen Herodias, though Alan Badel as John the Baptist seems more like a wild-eyed madman than a holy prophet. Though there are some filler segments that are not up to the rest of the film, still I think it's excellent entertainment.

Although other films from the same period might be expected to receive a higher priority because they remain more significant today, it seems amazing that this film has never been released as a DVD. Salome is highly viewable, and anyone simply wanting to pass an evening by watching a light entertaining film without regard to its message or social significance would probably find it an excellent choice. Such films are among the most successful in video rental stores or as casual purchases from store displays - consequently they bring in the greatest returns for companies creating new DVD's from old films and are often selected in preference to much more significant works.

What does Salome have going for it?. Firstly a good Technicolor print of the type which provides endlessly enjoyable images of the seas, skies and scenery so plentiful in the Mediterranean. Next a very popular duration of around 100 minutes, a story which is widely known and a one word title equally readily recognised. Thirdly a cast largely composed of great Hollywood stars of the period - a major selling point usually far more important than the filmscript, direction or historical accuracy; and finally an electrifying near striptease performance by a star who has been referred to as the Hollywood love goddess of the period. To set against all this were the very poor reviews by most critics who condemned it for gross overacting, poor dialogue, unimaginative direction and historical inaccuracy - all of which experience suggests is of less importance than the cast for most viewers (even those who study the critics), when they are simply looking for an enjoyable and relaxing evening.

Furthermore some of these criticisms are not easily sustained. 'Overacting' is a qualitative term which first became important when the introduction of talkies in the 1930's made the exaggerated actions and gestures of the silent era no longer necessary. Stage actors are trained to overact so the distant members of their audience seated far away 'up in the gods' can better follow what is going on. Done carefully this type of overacting can be very effective in films with rather melodramatic story lines, and is often referred to as 'chewing up the scenery'. There is a lot of this in Salome, not only from John the Baptist but also from both Herod and Herodias. Watching Charles Laughton, as a very lecherous Herod, lasciviously rolling his eyes and drooling at the mouth when Salome dances is one of the great joys of this film. It is true that Rita Hayworth was probably too old to play a character historically believed to have been so much younger, and she certainly did not look the part of a Semitic princess, but she was trained as a dancer from infancy and it is unlikely that the film would have the same appeal today if any other Hollywood star of the period had been given the role.

Historical inaccuracies are much more controversial. I take a very strong objection to incorrect representations of what is factually established history unless it is made clear that this is being done. Here however historical records seem to be rather limited and not entirely self consistent, so some judgment is called for. Most of what we believe we know about Salome probably comes from records that are more literary than historical. For hundreds of years much current literature comprised re-writing and fleshing out known stories which might have originated as oral history, legend, myth or pure fiction. In this case an additional complication is that the most widely known contemporary reference come from the Bible rather than from a work solely written as history - something that often leads to public reactions based more on emotion than on fact. Herod, Herodias and Herodias's daughter are well authenticated historical characters, but doubts have even been raised as to whether the latter was actually named Salome (some sources refer to her having the same name as her mother). History points to her age at the time as being 13 or 14 but this is by inference rather than definite records. The account of Salome dancing before Herod occupies about 200 words in each of the gospels of Mark and Matthew in the Bible. There is also a brief historical record of this dance and its outcome written by the Roman-Jewish historian Josephus. The story in this film reverses the biblical story which indicates that Salome had no idea what reward to seek from Herod after dancing for him, but at the request of her mother agreed to ask for John's head. The reversal was demanded by a Columbia Studio head who did not want his star tagged with the label of a very bad girl, but historically it can also be found in Jules Massenet's opera "Herodiade". In a film intended purely as a piece of entertainment this reversal would be justifiable artistic licence so long as the change from the normally accepted story was clearly indicated. Since this was not done, the film has been mercilessly but rather unfairly shredded by critics and viewers ever since. Nobody today would view it to learn the story and for those merely seeking an enjoyable evening's viewing, it is inconsequential. If a similar film had depicted a legend about which little was known historically, there would have been much less controversy and, despite all its faults, the film would probably have remained much more highly regarded right up to today (with copies on DVD readily available in almost every video store). Anyone who wishes to view a more structured reconstruction of this story should watch the fine Ken Russell film based on the play by Oscar Wilde (or even Nazimova's 1923 silent film), but for an evening's light, enjoyable entertainment without heavy psychological musings choose this 1953 film.

I just finished watching this movie. I think it has been unfairly rundown by critics. Yes it is historically inaccurate, but how many Hollywood epics are actually accurate ? The answer is hardly any.

To me movies are essentially entertainment, and this movie really did that. Most of this was down to the casting of the stunningly beautiful Rita Hayworth in the title role. Her much mentioned "dance of the seven veils" is without a doubt the highlight of this film.

The performances by the rest of the cast are decent if not exceptional. Stewart Granger is the Roman commander who is secretly a Christian, Charles Laughton plays Herod, a man as much obsessed with pursuing Salome as with trying to spare John the Baptist for fear of what God will do to him in retaliation (he believes John the Baptist to be the Messiah).

It is definitely not one of the greatest epics and some of the dialogue is not the best, but the movie is certainly not the worst of Hollywoods many Biblical epics. It is far more entertaining than "The Robe" and Rita Hayworth's radiance is extremely easy on the eye.

As we all know that Princess Salome,(Rita Hayworth) danced for King Herod,(Charles Laughton) in order to gain his favor and requested that John the Baptist's head would be removed and placed on a silver platter and given to the king. However, Hollywood changed the Bible version and made Salome look like a kind and loving Princess who loved the Christian way of thinking and living and wanted to save John The Baptist from being killed. Stewart Granger,(Commander Claudis) soon become the lover of Princess Salome after she had fought with him constantly and told him she wanted nothing to do with a Roman. King Herod and Queen Herodus (Judith Anderson)was living in adultery since she was married to another man and living with King Herod. Rita Hayworth was an experienced dancer and this was one of her best films in 1953.

The costume and settings are fine, the acting is good but the changes to the biblical characters and their stories are on some parts profound and made of Salome a most spoiled and boring character, and last but not least, they added a lot of romance to the story. The Dance of the Veils too is rather a tame gym exercise and not a climax to the movie. To sum it up, Salome is not that bad but regarding the good production and actors (Stewart Granger, Rita Hayworth, Charles Laughton) sadly the script does not work that well, at least for me.

The reason why you 'd like to sit through this is the four leads:Rita Hayworth ,ideally cast as Salome ,a libidinous Charles Laughton ,a cruel Judith Anderson and a noble Stewart Granger.Plus a stint by Sir Cedric Hardwicke.Plus the director of the best version of "hunchback of Notre -Dame" at his kitchiest.Plus a fabulous dance of the seven veils.Plus gaudy colors and John the Baptist's head of course.

But what remains,eg the essential ,is a really "free' adaptation of the holy writs.The script writers invented a Roman soldier with whom Salome falls in love.BUT what will puzzle the Christians is that Salome dances not to get John's head,but to save him!!!.A happy end which will remind you of your Sunday school days.And that's not all:the plot even involves Pontius Pilate whom Claudius (Granger) urged to become a Christian and to repent so that he would go down in history as a soldier of a brand new religion.Well the man did not wash his hands ,but he did not do what he was told either...which did not prevent him from going down in history anyway..

Banished from Rome by Emperor Tiberius Augustus : Cedric Hardwicke , Salome : Rita Hayworth abandoning her boyfriend : Rex Reason , returns to Jerusalem , there being infatuated by both , a good-looking Roman Centurion : Stewart Granger , and the licentious Herodes : Charles Laughton who is lasciviously after her , while John the Baptist : Alan Badel loses his head .

Spectacular and colorful film , with plenty of some viviv large-scales scenes , certainly , but lacks fidelity to Holy Bible , this is very free and loose rendition based on Ancient Scriptures . Here outstanding Rita Hayworth and her famous dance , as she sinuously shedding her Seven Veils . The best perfomances go to Alan Badel as a fanatic John the Baptist along with Charles Laughton as a lascivious Herodes Antipas and well supported by the usually baddie Judith Anderson as his Queen , Herodias . Including other illustruous secondaries as Sir Cedric Hardwick as emperor Tiberius , Arnold Moss , Maurice Schwarz , Rex Reason, and Basil Sydney as Pontius Pilatos .

It contains a moving and stirring musical score by George Duning , adding some religious and oriental sounds . As well as evocative cinematography in Technicolor by cameraman Charles Lang , though a perfect remastering being really necessary . The picture benefits itself to be shot in location in Israel, though wasted because of no too much exteriors . This Biblic rendition far from faithful to its origin , and according to Columbia Pictures and it was professionally directed by William Dieterle , though it has a few gaps and failures . Dieterle was a good director, making nice films and some masterpieces , as he directed the following ones : "Devil and Daniel Webster" , "Hunchback of Notre Dame" , "Juarez" , "Life of Emile Zola" , "Quick Let's get married" , and his greatest success : "Portrait of Jennie" , among others. Rating : 6/10, acceptable , but neither extraordinary , not notable , but passable . The yarn will appeal to Rita Hayworth , Stewart Granger and Charles Laughton fans .

Don't bother watching this film for historical accuracy. Watch it instead for entertainment value only and to see why Rita Hayworth was worshipped as a Goddess.

You can almost feel the debauchery oozing out of Charles Laughton's Herod as he oils his way through the film. And Judith Anderson's Queen Herodias is completely over the top, but you can see where she's coming from and that she's a product of her circumstances. Stewart Granger is almost out of place here as he's the only one not seriously hamming it up, but he still does a relatively convincing job as Commander Claudius, improving as the film progresses.

I love this film for the wonderful elocution-lesson delivery of the dialogue and the gloriously artificial colouring which give a lovely fantasy recreation of biblical times: even though bad things happen, they just don't seem that bad. And even after all these years Rita Hayworth's dancing is a vision to behold for men and women alike.

This Technicolor extravaganza built around "Gilda" Hayworth's big dance number as a watered down Salome is one dishonest and cowardly piece of commerce to behold. With its attractive stars, superb supporting stage and film actors as well as a highly respected director of epics (Wilhelm Dieterle) and a master cinematographer (Charles Lang) Salome stumbles along for the entire duration with two left feet.

Taken from the familiar Biblical story of John the Baptist and later spiced up by Oscar Wilde the producer's (Rita being one) tweak it a little by downplaying Salome's culpability and having the rap to pinned on mom (Judith Anderson) allowing Salome a chance to get religion and Stew Granger as the film ends on a highly solemn and spiritual note with the camera tilting to the sky where the words "This was the beginning" are emblazoned. This after the stunning Miss Hayworth finishes her incestuous two step striptease grinding up a marble staircase in front of her step father, besotted Charley Laughton with Dame Judith smirking approval. The marketers must have thought 'something for the whole family'.

Where do we begin? Dieterle who directed Laughton in Hunchback as well as the unique fantasy world of a Midsummer's Night Dream fails to engage or create anything of authenticity or sincerity from performers to the cold barren sets and women draped in fabric colors usually reserved for Christmas wrapping. The B&W mastery of Lang ( Ace in the Hole, The Magnificent Seven) is no where evident in garishly lit scenes dripping gold and bleeding red.

Hayworth and Grainger are beautiful and brittle with Rita softening Salome; reducing what should be driving vengeance to limpid piety. Cedric Hardwicke isn't around long enough to chew scenery but Alan Badel as a tripped out JtB is. Laughton's Herod is the biggest travesty of all as he monstrously overacts, spending most of his time waving his arms or gripping Roman columns, his utterances unconvincingly peppered with pregnant pauses and hammy anxious expressions. He along with almost anyone else involved in this pitiful production one might well argue deserve the same fate as the Baptist. Salome is an out an out abomination.

the first temptation is to criticize it. very hard. and it is the normal reaction. because the film has potential and the right cast. but for director seems be more seductive the easy way. the dance of Rita Hayworth, the sketch of the force of Charles Laughton, Judith Anderson in a role as game of stereotypes. the result - not the best. after decades, it is not a real sin and it is a wise option to see it as piece from a long chain of religious/historical films from the "50. but the case of "Salome" remains different. for the simple motif than it is not an ordinary film from the "50. and only way to discover it out of not inspired solution of script or director vision is ... to imagine it.

Chocked full of biblical inaccuracies, this fun free for all lasts for hours and hours. People complain that films are too long today, but those who do the complaining obviously have no idea that these older films even exist. Guess they also never heard of Gone with the Wind or To Kill a Mockingbird, either. LOL

Anyway, Rita Hayworth is beautiful in her part as Salome. She's quite possibly the most beautiful Salome ever, though the ambiguity of her character herein is a bit annoying, and the direction taken by this version of the biblical story is a bit odd, but the overall production is fun, nonetheless, though entirely frivolous.

All in all? It's entertaining and historically accurate, if not biblically so, which is so often the case.

It rates a 7.3/10 from...

...the Fiend :.

Not since seeing Derek Jarman's film ' Sebastiane ' in Latin have I seen a film as camp as this. They have a lot in common, including a dance to provoke or excite an audience. I am not sure that a sense of camp was in the director's mind when ' Salome ' was made, but no one in their right mind, or wrong mind, take your pick, could take this film seriously. Salome is a wicked good woman here repenting of her sins to above all others John the Baptist, played in hilarious earnestness by Alan Badel. His is a really bad performance, laughable and deliriously silly at the same time. It is as amusing as anything in Monty Python. Herodias, played to maximum kitsch by Judith Anderson is far, far better. I would like to believe she was starring in this nonsense to get people in to see the dance of the seven veils, and no doubt hoping that her last laugh would be on the way to the bank. After all it brought in over three million viewers in France, and being then a highly religious country it no doubt delighted everyone, including the suggestions of soft porn in the dance. Salome is to heterosexuals as erotic as Sebastiane riddled with arrows for homosexual men. The ending is mercifully brief after the dance and I imagine the patter of many feet towards the exit sign ( but probably not in France. ) The best ' acting ' for me came from Rex Reason as Marcellus, Rome's intended husband for Salome, and I can understand that she was happy with the arrangement, before Tiberius Caesar decides to call the whole thing off. Watch it and wonder at the delirium of Hollywood in thinking they could create magic out of Rita Hayworth and Stewart Granger. Hayworth does her best and she could dance. Granger in my opinion was just doing a job. There should have been a book on the making of this. We will never see this kind of so-called Biblical films again - I say this with hope.

Salome is yet another film about a peripheral biblical character. All we know about her is that when John the Baptist was in Herod Antipas's dungeon awaiting sentence, she danced for the king and John's head got served up as the main course at a banquet on a silver tray.

From that stringy bit of knowledge that the Good Book gives us, Columbia Pictures constructed a plot for their number one sex symbol Rita Hayworth so she could do a strip tease for Charles Laughton. That in itself was enough to sell tickets no matter how ludicrous the story.

And it's one of the more ludicrous Bible based stories ever brought to the screen. The story of course is that Herod Antipas had committed adultery with his brother's wife and Salome's mother and she later became his queen. Here she's played by Judith Anderson in her best Mrs. Danvers manner.

The story opens with Salome returning from Rome where the Emperor Tiberius played by Cedric Hardwicke has sent her packing because she wants to marry a Roman. His action's left her bitter against the occupiers of her country and to make matters worse, she's accompanying the new Governor of Judea, Pontius Pilate played by Basil Sydney and a stalwart centurion who is Stewart Granger.

The fly in the ointment is this nasty preacher, John the Baptist who goes around saying awful stuff about Judith Anderson and Charles Laughton. He's played by Alan Badel who was introduced in this film. Badel was roughly contemporary with Hugh Griffith in British cinema and both had a pair of the wildest eyes this side of Jack Elam. Allowed them both to be cast as fanatic types. It serves Badel well as John the Baptist.

What I love about this story is that everybody's got an agenda going here except Pilate and the Baptist. Salome wants to protect mom, Herodias wants the Baptist dead, Herod wants him to just go away and shut up, and our centurion is a stealth Baptist follower soon to be following that cousin of his from Nazareth.

All that leads up to the events described in the Bible. Everybody goes through the motions here, they all know this film is a Thanksgiving special. Especially Charles Laughton who's done lascivious before on the screen, in The Barretts of Wimpole Street, in The Paradine Case, in The Strange Door. Laughton has lascivious down to a science and with Rita Hayworth as the lust object who could blame him.

As for Rita she must have felt like Maureen O'Hara did, that other Hollywood redhead who got cast in all these exotic roles where her titian tresses were jarringly out of place.

She must have wondered why she came back after this one.

The Bible has all of the best stories and the tale of Salome and how she dances for Herod in exchange for the head of John the Baptist is amongst the most filmed. However, in this version, Salome (played by sexy Rita Hayworth) unwittingly causes the baptist's death, rather than intentionally, making the movie something of a laughable affair.

But if one can forget about the accuracy of the story for the duration, there is a lot of fun to be had from this cheesy star-studded effort.

Stewart Granger plays his usual role of hero straight-faced, whilst Charles Laughton is marvellously oily as lecherous King Herod. Hamming it up even more than Laughton is Judith Anderson, whose evil Queen Herodias glowers theatrically throughout the proceedings. Blue-eyed Alan Badel is miscast as John the Baptist but, obviously believing that he is capable of an Oscar worthy performance, he gives the part everything he has—which isn't much! 40's sex symbol Rita Hayworth, famed for her dancing, is perhaps a little too old for the part, but she still manages to heat up the screen, particularly when it comes to her performing the legendary Dance of the Seven Veils.

As Biblical tales go, 'Salome' has plenty of melodrama and intrigue, but not enough action or spectacle for this viewer. For examples of how these things should really be done, watch Ben Hur or The Ten Commandments.

Forget the critics and concerns over over-acting, under-acting, script quality, and historical accuracy. Relax and settle back with your favorite snack and enjoy this opulent visual feast. Charles Laughton as a pleasure-obsessed Herod and Judith Anderson as a scheming power-hungry Herodias delightfully chew up the scenery, while Jean Louis' costumes alone make this movie worth watching. But the crowning achievement of this film is the electrifying Dance of the Seven Veils as performed by Rita Hayworth. Both earthy and ethereal at the same time, she commands our fascination as well as Herod's. As she effortlessly glides- minus 6 veils- up the steps to place herself at Herod's feet- offering him the promise of unimaginable pleasures- she is stunningly photographed and glowing with a golden aura. Had she made no other films, this dance performance alone would have ensured her place as Hollywood's reigning Love Goddess.

"Salome" features two stars I can enjoy in just about anything - Rita Hayworth and Charles Laughton. In this version of the Biblical tale, Rita Hayworth's Salome is not as wanton as she appears in the New Testament, she's had a history, but now she is trying to sort herself out.

She is the daughter of Queen Herodias (Judith Anderson) and the stepdaughter of King Herod (Charles Laughton) ruler of Judea. We learn that her mother sent her to Rome as a young girl to avoid being monstered by her step-dad who is a total lech. When she's kicked out of Rome in a very un-PC fashion because she is not Roman, she heads home.

On the way she meets Claudius (Stewart Granger), a Roman officer who is accompanying Pontius Pilate on his fateful mission to Judea. When Salome arrives at the palace, Herod is all over her. Rita Hayworth looks stunning in this film dressed to ancient red carpet perfection in every scene by Jean Louis. Interestingly, Charles Laughton gives a fairly restrained performance - for the most part anyway.

At the same time, Herod and Herodias are receiving plenty of flack from John the Baptist who denounces them as adulterers while also heralding the imminent arrival of the Messiah. However, Herodias has had enough of her bad press and wants John terminated with extreme prejudice, but Herod only wants him imprisoned - Herod has been warned by his adviser, Ezra, that he risks divine punishment if he hurts John. Ezra is played by Maurice Schwartz who often appeared in pious roles - with a look that suggested his haemorrhoids were giving him hell.

Eventually, through a quick rewrite of history, in order to save John, Salome does the Dance of the Seven Veils (she sheds about five, this was the 1950's after all), but is instead rewarded with his head on a plate; an impressive effect decades before CGI.

By this time Salome realises that Claudius is a follower of John and feels that the holy man's teachings also offer her a chance for inner peace. In the final scene they join the throngs listening to Jesus give the Sermon on the Mount. This is a startling scene mainly because you can tell most of the crowd is painted.

The film has a rather stagey look, but it's colourful, and what it lacks in scope it makes up for with plenty of dancing for Herod's pleasure. However there are some fairly literate passages, especially around Herod's relationship with John the Baptist.

Students of history or the Bible will no doubt have apoplexy over some of the liberties taken, but "Salome" delivers everything that was promised in its colourful poster - which also served as a bit of a warning depending on your point of view.

This is one of those rare films were the actor 'introduced' in the credits actually went on to a long and distinguished career: Alan Badel as John the Baptist. But Stewart Granger - reunited here with his co-star from 'Caesar and Cleopatra' Basil Sydney (as Pontus Pilate) - significantly doesn't even mention this in his autobiography.

Nazimova and Ludmilla Tcherina were both in their forties when they essayed the part, yet it's Rita Hayworth - ten years younger - who seems too old; and her appearances, alas, come as an annoying distraction from the scenes with Charles Laughton & Judith Anderson as Mr & Mrs Herod.

Although bathed in rich Technicolor by veteran cameraman Charles Lang, it's hard to believe the same director who in the bad old days of the Hays Office managed to give us Marlene Dietrich cavorting painted gold in 'Kismet' (1944) could this time round make such dull work of the Dance of the Seven Veils.