Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after.
Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development.
Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards.
No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career.
A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag.
Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival.
In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.
喜剧小品，大俗的情节设置，利用女性的生殖诱惑，莫名其妙的一见钟情，当作下饭喜剧看看还行
不温不火。结尾感人。父子档对夫妻档，谁是烧烤之王。
还是挺搞笑的，可能我笑点有点低吧，反正用电脑看，无聊的情节我可以快进。
孩子的梦想剧场，一个小小的不起眼的孩子，或许没有很多的玩伴，但是他的梦想却是很大，坚持下来获得荣耀，这是电影里最美好的一刻，但在现实中往往需要付出的更多时间
娃出生后就没开过的电视，四个多月首次启封看了这部小品片，开开星星
其中李炎燚老婆让人感触挺多的
不错啊，算是语言笑点比较密集的，制作场面也可以
小烧烤，羊肉串，烤腰子，烤鸡翅。。。烧田螺，归归归！晚上不能看。。。
就是一个会唱歌、会独白的小男孩的明星梦实现的故事！
不管怎么说孩子追求梦想就是伟大的，这个社会支持就是伟大的。
《烧烤之王》基本还停留在崔志佳小品式的创作思维，疯狂融梗，建立矛盾。小品演员做电影，优势在于对故事代入，背景交代有非常高效的创作思维。本片的核心矛盾在影片开始十几分钟就确立了。但是问题就在于，崔志佳没有完整的电影创作逻辑，不断加入网络段子，近九十分钟的片子，竟然连第二幕都没讲完就草草收尾。这就展现出作者完全没有电影整天概念的问题。作为电影，连基本结构都没走完，片子一定是不及格的。作为段子合集，还能勉强一看。
孙越在片里好惨哈哈哈哈哈哈哈哈哈哈
还可以啊，笑点都能响，故事也讲得完整，不错啦，要啥自行车啊
太赞了太赞了！！惊喜啊惊喜！！看的我只想现在来顿烧烤！！！！什么烤串大腰子都安排上！
附和逻辑，一个网大低成本很多情节包括细节都附和逻辑，这是很多高成本大明星戏都不具备的。希望资本注入。
这不挺好看的吗 虽然剧情俗了点 但也不至于这么严格吧 一个网大算及格的了
虽然是一部网大，可笑点该有的有，剧情也连贯，让人看来了很开心。
直女爱上基，注定要伤心……还神他妈爱你如姐妹……LOL……迪士尼现在真的很爱在影视剧里加入lgbt角色，关键我看了这么多部都是男生喜欢男生，怎么不拍女生喜欢女生的？另外要是能拍得像《跳出我天地》那样真的就是五星水准，可惜这个剧本还是太迪士尼了……
看了半小时实在看不下去了…现在好莱坞都必须要黑白配吗？太别扭了！
我是通过爱笑会议室和一起来笑吧 认识崔志佳的,那时候他就有胖的迹象,不过还不显胖,这电影里刚一露面我都惊呆了,胖的脸两侧都下垂了,像沙皮狗一样.我看事情看的深而远,导演是他,我挺佩服,能拉倒赞助投资,还有这么多小明星来捧场,确实厉害.男主媳妇真好看,搞笑片段太少太少!总体还行,没有强行煽情.比大多数网剧好多了
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