After playing with our expectations, this turns out to be a very different sort of film.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

This film is so real. It treats its characters with so much care and sensitivity.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

"Salome" contains a documentary "Making of" part ; this is better than average, giving genuine insight in a creative thought process and in the development and staging of a dance performance. However, it is the dance part which deserves the laurels by bringing vivid, vibrant life to the Biblical story.Dance, music and acting complement each other beautifully, although it should be said that the work is better at portraying the decadent hothouse atmosphere of Herod's court than at portraying religious conviction or intimate contemplation. The costumes and make-up deserve special mention, both for their charm and for their aptness. One only needs to look at Herodias, for instance, in order to grasp her backstory : a middle-aged woman, once a great beauty, who doesn't love her straying husband anymore, but clings to him like ivy because he feeds her pride and provides her with riches and power. Here she's allowing - nay, encouraging - her husband to ogle her young daughter ; there is no doubt that she would have thrown him her young son, if that would have been more to his liking.(By the way : Herodias' headdress, somewhere between an crown and a comb, is both original and gorgeous. Ladies with sufficient amounts of beautifully thick and long hair might want to try out the effect for themselves.) The living heart of the ballet is an unbalanced but intelligent and majestic Salome, ably played by Aida Gomez. Her veil dance is not only superbly sensual, it is also deeply chilling. Music and choreography evoke some kind of innocent ancestral dance celebrating love and fertility, such as a dance for a bridal feast, hijacked and subverted into something entirely different. (Watch out for the gaily clapping hands, reminiscent of folk dances and pastoral entertainment.) Thus the dance becomes perverted, in the more literal meaning of the word - it is led astray and leads astray.Well worth watching.

I'm getting really into these Saura dance movies. This one, however, I didn't much care for. It's pretty much just straight ballet, which as I've said before is a form that doesn't speak to me at all. I find it a very ineffective method of storytelling. I kind of get what people are doing and how they feel, but the "why" eludes me. I can't decode it, my brain just doesn't work that way. I need some narrative glue between the dances, or I need the dance to be more dynamic and exciting. However, I did enjoy the behind-the-scenes stuff in the first part, with dancers working out their moves, the "director" (actually an actor) giving guidance, the discussions of the music and staging. And the film is quite lovely, again utilizing a very spare soundstage and gorgeous lighting. It's just that ballet is so dull to me.

Carlos Saura a man that has spent his career in the Spanish cinema has made great contributions to the song and dance form in many of his films. Some come to mind, "Carmen", "Tango", "Fados", and many others. It was with eager anticipation we decided to watch "Salome", his 2002 film we had never seen. Judging by the meager comments sent to this entry in the IMDb site, we figured it was never released commercially in the United States, or was only seen in limited venues, perhaps.The story of Salome, the biblical character, has been interpreted through time by painters that find a provocative subject in a young seductress whose erotic dancing led to the death of the prophet John, the Baptist. Salome, the daughter of Herodias, and the step daughter of king Herod Antipas, conspired with her mother into asking for the head of John, a wish that was granted.Carlos Saura takes us, first, into the preparation of the dance piece, whose production he is preparing. His alter ego is an actor impersonating the director. The cast is presented; they speak to the camera about their C.V. and what they have done up to that point. The composer of the composer and the costume designer make their point. The performance begins as the director calls for a dress rehearsal. The music is sensual and the style of dance we witness is a mixture of flamenco and middle eastern blend that plays well in the context of the narrative. The story unfolds easily as most of us are familiar with the legend that is being told in a dancing form. Aida Gomez plays Salome with panache. Her dancing is erotic, as well as her desires for the figure of John, a man that resists the temptations in front of him. Carmen Villena is Herodias, the mother of Salome, has some great moments with her expressive body that exudes slyness as well as lust. Paco Mora is seen as Herod in a performance that combines mime with dancing. Javier Toca appears as John, the Baptist.Tomatito and Roque Banos provided the music that is mysterious and tuneful at the same time. The film was lovingly photographed by Jose Luis Lopez-Linares, who has worked with Mr. Saura before, and Teo Delgado. Carlos Saura shows his genius for connecting the story he wanted to tell with some fantastic dancing.

I loved this movie, and was sad when the 86 minutes were up.This is a spectacular blend of flamenco dance, theatre, cinema and documentary that makes you want to buy a copy of anything that displays the prowess of Aida Gomez as a consummate dancer and actress.The biblical story of Salome, John the Baptist and Herod's jealousy is well portrayed under the direction of Carlos Saura.The musical accompaniment is well controlled but made me ache for more.Visually splendid, as I love flamenco dancing and music. Emotionally exhausting as the drama unfolds.Now all I need now is for the DVD to become available in this part of the planet