Al Pacino's 'Salomé' represents a production of nothing if not the utmost professionalism. Hair and makeup, costume design, set design, props, and lighting all very distinctly impress in their perfection; my commendations to everyone in the crew who helped to bring this to fruition. I can only imagine how captivating the play would have been to see on the stage - oh, how I would have loved to have been in one of those seats - but Pacino demonstrates wonderful capability as a director to capture every tiny instance with exquisite deftness, amplifying the tension and drama. To that end, my congratulations as well to experienced theater director Estelle Parsons, who took a very low-key rendition of Oscar Wilde's work and, with her practiced hand, guided an electrifying exhibition of the tremendous skill of all involved. It takes no time at all as a viewer to be wholly enraptured - this is outstanding!
Small separate touches added to the feature film, establishing the setting or focus of particular moments, may to an unwitting spectator seem superfluous, and undesired. Having previously watched Pacino's documentary, 'Wilde Salomé,' that was part of this ambitious project, I can appreciate the place those embellishments have in both this edited 2013 form and in that 2011 exploration. In a like fashion, I broadly have a harder time engaging with stage productions that update their subject to a modern setting, and indeed we see in this take on 'Salomé' a very 2010 sensibility of sartorial arrangement. Again, however, I can only reflect that watching Pacino's documentary has instilled a wider perspective on the artistic choices made here - and I admire them all.
Of course, one could speak at great length about all the little details that together constitute a picture or a play. But as important as they are, and as brilliant as they may be (as they are here), they are not the critical substance for which an audience attends. Of far more significance, in the first place and at the core, is the writing. It's clear that Pacino's 'Salomé' is built directly upon Oscar Wilde's own magnificent wit, and the playwright's intelligence is a legend unto itself. His sharp dialogue, and his directions for the cast and crew, are terrific - engrossing and vivid as they bring life to an ancient tale. Wilde's play is a true classic, and has very deservedly been staged and adapted time and again - and, to my pleasure, this is as worthy as any version could be.
And of course, as much as the writing, the cast is essential to theatrical production - not just embodying their characters, but realizing with their performances and our imagination the visuals that would instead be given actual form in a movie. So it is with 'Salomé,' with some tiny facets appearing only by gesture and fancy. More crucially, though - every actor assembled for this piece is exceptional. Roxanne Hart has only a supporting part as Herodias, but nonetheless carries a biting presence and strength that makes the queen larger than what is written. Kevin Anderson has relatively little time on screen, but similarly makes the most of his role with a somewhat unsettling turn as John the Baptist - little more than a raving lunatic whose ramblings bear only as much sense as may be interpreted in passing, but lively and impactful as Anderson portrays him.
Above all, however, 'Salomé' is a dazzling, spellbinding showcase for its top stars. Over 70 at the time the play was staged and this movie filmed, Pacino offers a deceptively sophisticated performance as Herod. For much of the length he comes across as a bit aloof and disinterested, perhaps not summoning the full power we know he possesses. Yet Pacino's acting here is an illustration of subtlety, and the quiet influence of an expert's force of personality: he depicts Herod with an air of both arrogance and whimsy, bordering on madness, and declines until the psychological moment to advertise the brunt of that fabulous command he has over the medium. Truly, it's a privilege to witness. Yet remarkably, even Pacino is overshadowed by the exceptional, exhilarating display we see from Jessica Chastain. She embraces every shifting, conflicting, confused emotion of the title character with marvelous range, force of personality, and physicality. Hers is a presentation that's altogether enthralling, from the girlish innocence Salomé first seems to sport, to the demanding impetuousness and recalcitrance she wields upon insult and expected favor, through to the broken sorrow as all concludes. And this is to say nothing of Chastain's alluring, invigorating Dance of the Seven Veils, a centerpiece for any rendition of 'Salomé' that doesn't always land with all due stimulating import - but Chastain absolutely sells it, and makes it her own. She has more than proven herself in all the pictures she's made, yet maybe more than any other, this film is worth watching for Jessica Chastain alone.
Vibrant, fiery passion courses throughout 'Salomé,' both in the acting and in the very doing - the love of storytelling and of the two mediums represented herein. What excitement I had upon first learning of the project, and the casting, was moderately tempered by first watching the documentary - only to flare to splendid new life once I sat for the feature. I can understand that the presentation of a stage play, caught on film for posterity, may not be the type of movie that appeals to all viewers. Yet the superb value herein matches or bests the drama to be had in many conventional titles, and it's fantastically well made of its own accord. Whether one is a fan of the cast, of theater, or of Oscar Wilde, or just an avid movie-goer generally, I must enthusiastically give 'Salomé' my highest recommendation: this is an excellent, absorbing piece of cinema that deserves much more recognition!
