Viewer Rating
Combines user and critic ratings from four sources
In the image of Salomé, the excluded other - nature, sexuality, the feminine - returns as an attraction and a threat. In a mixture of striptease and opera, Adorée Villany in front of the camera crosses the boundaries of both genres.
In the image of Salomé, the excluded other - nature, sexuality, the feminine - returns as an attraction and a threat. In a mixture of striptease and opera, Adorée Villany in front of the camera crosses the boundaries of both genres.
The film adapts a classic biblical narrative centered on universal themes of desire, power, and moral consequence, which lack inherent alignment with modern political ideologies. Its focus on dramatic storytelling rather than contemporary political issues positions it as politically neutral.
This early 20th-century German silent film, 'Tanz der Salome,' adheres to traditional casting practices typical of its era, without evidence of intentional diversity-driven recasting. The narrative focuses on its subject matter without incorporating critiques of traditional identities or explicit DEI themes.
The film depicts the martyrdom of John the Baptist, a pivotal figure in Christian theology, affirming his righteousness and the moral principles he represents. The narrative aligns with the Christian understanding of his sacrifice.
'Tanz der Salome' is an early silent trick film from 1902, primarily featuring a dancer and visual effects. Due to its brief, experimental nature and lack of narrative depth, there are no identifiable LGBTQ+ characters or themes present in the film. The portrayal is therefore N/A.
Tanz der Salome is a very early silent film from 1902, primarily known for its experimental special effects. There are no identifiable transsexual characters or themes present in the film's narrative or historical context, leading to a determination of N/A for its portrayal.
The movie does not contain any action or adventure elements.
The film adapts the biblical story of Salome. There is no historical or critical evidence to suggest that any canonically established characters from the source material were portrayed with a different gender in this 1906 adaptation.
Information on this 1906 silent film is extremely limited, and there is no historical or canonical evidence to suggest that any character's race was changed from an established portrayal. Early cinema practices for biblical figures typically involved European actors, which would not constitute a race swap under the given definition.
Combines user and critic ratings from four sources