Alla Nazimova – Page 6 – { feuilleton }

Salome’s Last Dance

More Wildeana. It’s taken me over two decades to watch this film, and while I can’t really say it was worth the wait it was more entertaining than I expected. Salome’s Last Dance was directed in 1988 by Ken Russell and is his own typically mannered adaptation of the Wilde play. It appeared around the same time as his adaptation of another Victorian work, Bram Stoker’s The Lair of the White Worm, and it was the latter film which caused me to lose my patience with Russell’s excesses and so ignore this one. In Salome’s Last Dance we have Oscar Wilde and Lord Alfred Douglas visiting Alfred Taylor’s London brothel one night in 1892 where Taylor and company stage a performance of Wilde’s banned play.

Aubrey Beardsley’s illustrations appear in the title sequence.

If you’re a Wilde enthusiast there are at least two ways you may take this; you can be appalled by Russell’s “translation” of Wilde’s words (Salomé was written in French then translated for English publication in 1894; there’s no reason to re-translate a version the author approved), a translation which is really more of an adaptation, with much of the poetic monologue removed and the tone lowered for a general audience—Wilde’s “Iokannen” is vulgarised to “John the Baptist” throughout. Or you can try and enjoy what is at least a complete performance of the play, even though it more often resembles Carry On Salomé than anything one might have expected Sarah Bernhardt to perform. Injecting a Symbolist drama with slapstick and grotesquery is probably inevitable given the director (Russell is also co-writer and he plays—badly—the role of the Cappadocian). I found it impossible to decide whether Russell was sending up the play because he found it too pompous or whether he felt that an audience wouldn’t sit still for it otherwise. Whatever his intention, the premise is intriguing enough to inspire speculation as to how it might have been treated by other hands.

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The Savoy magazine

Further retrievals from the depths of the Internet Archive (and thanks to Lord Cornelius Plum for the tip) come in the form of three bound editions of The Savoy magazine, a British art and literary periodical which ran for eight issues from January to December 1896. Aubrey Beardsley was art editor and chief illustrator, Arthur Symons the literary editor and the publisher was the heroic and duplicitous London pornographer Leonard Smithers whose patronage and, it should be noted, exploitation of Beardsley’s work kept the artist solvent during his last two years.

A thesis could be written (and no doubt has been) exploring the curious symbiosis between pornography publishers and the artistic avant garde. Smithers was a proud purveyor of what he called “smut” but he also complained about all the money he lost supporting poets and down-at-heel writers. Posterity can thank him for publishing Teleny, the classic early work of gay fiction attributed to Oscar Wilde, as well as Beardsley’s Lysistrata illustrations and The Savoy, a magazine founded in the fallout of the Wilde scandal when The Yellow Book dropped Beardsley from its staff in order to appease its more conservative contributors. The magazine’s run was short due to poor sales after WH Smith’s refused to stock it, worried again about the controversial nature of Beardsley’s art. (Speculative fiction magazine New Worlds faced similar problems with Smith’s in the late Sixties.) This seems astonishing to us now when looking at the world-class roster of contributors to the first issue, a list which included two future Nobel winners—George Bernard Shaw and WB Yeats—as well as Max Beerbohm, Ernest Dowson, Havelock Ellis, JM Whistler, Charles Shannon, William Rothenstein, and Beardsley writing and illustrating the first part of his erotic caprice, Under the Hill.

Beardsley’s illustrations are very familiar from book reproduction but it’s good to see them in the context in which they first appeared, and to be able to read some of the features. The later issues include pages of adverts which always fascinate for their contemporary detail.

• The Savoy: Volume 1 | Volume 2 | Volume 3

Elsewhere on { feuilleton }
• The Aubrey Beardsley archive
• The illustrators archive

Betty Blythe

Yesterday’s search for Betty Blythe pictures turned up this pair which I couldn’t resist posting, with Ms. Blythe posed against a peacock in the first and wearing a peacock-styled outfit in the second. As I’ve noted before, silent films are very often like Symbolist paintings come to life, and The Queen of Sheba (1921) would appear to be another of these which makes its loss all the more disappointing. The photo below is from a Flickr set whose user has her own Tumblr blog of silent movie stars.

Previously on { feuilleton }
• The Mask of Fu Manchu
• Salomé posters
• Ruth St Denis
• The Feminine Sphinx
• Lussuria, Invidia, Superbia
• Alla Nazimova’s Salomé

Salomé posters

Salome (1918).

You can’t keep a bad girl down… Attempting to gather all the painted representations of Salomé would be a foolish enterprise, there are far too many especially when you reach the 19th century, an age whose misogyny found an ideal expression in the emasculating temptress. Searching through 20th century adaptations yields some interesting works, however.

Theda Bara’s film pre-dates the more flamboyant Nazimova version by five years, and since I haven’t seen it I’ve no idea how it holds up today. But from the look of the stills and posters it seems far closer to the usual historical fare than the stylised version which followed.

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Beardsley at the V&A

This battered item is my copy of the V&A guide to the landmark Aubrey Beardsley exhibition held at the museum from May to September 1966. That exhibition introduced Beardsley to a new public and made his work very trendy for a while, helped by the Beardsley-styled sleeve of the Beatles’ Revolver album which was released the same year, and a general resurgence of interest in fin de siècle style. Aside from a rare unfinished drawing, there isn’t anything in the booklet which hasn’t been reprinted many times elsewhere but it does contain an excellent overview of the artist’s career by Beardsley scholar Brian Reade.

The V&A website has gained a new feature recently which allows you to search their collections with either a specific search or a random browse. The results don’t give the kind of high-resolution results which I’d like (unlike the British Museum) but the Beardsley works can now be seen in something like their actual condition, edge of the paper and all. Also present is the above piece of Beardsley trivia, a yellowed sheet of wallpaper manufactured by Arthur Sanderson & Sons Ltd in 1967. The Deansgate office of Savoy Books was once covered in this stuff but had unfortunately been papered over by the time I arrived on the scene.

Elsewhere on { feuilleton }
• The Aubrey Beardsley archive