“Salome’s Last Dance” is a film made in a barely possible genre of tragi-comedy with burlesque excesses and reflects societies of extreme inequality and conformism for which people try to compensate themselves as much as they can with over-indulgence (which always rewards us with the illusion of being greatly great).

When the decapitated head of John the Baptist is delivered from the underground cell to the fake Olympus of decision-makers – King Herod, Queen Herodias and Princess Salome, its eyes opened wide with his hope of seeing the Paradise. But instead of eternal victory of the Good, John the Baptist is seeing… the same (corrupt) king and his nightmarish entourage including his “golf friends”, his court and his guards – the eternal evil. And we see in John the Baptist’s eyes the ultimate horror of a sudden awakening to the impossible truth.

John the Baptist’s eyes slowly closing – his gaze is dying: the hope of his whole life is not realized.

When the pauperized Russians overwhelmed by the masterful propaganda of Communist communality finally understood that what they took for democratic socialism is in essence the same despotism they knew for centuries – when people’s opinions are not addressed, their aspirations are ignored and all decisions are made by the hierarchical tops, they found themselves in a similar predicament as Ken Russel’s John the Baptist.

When in the 21st century Americans “discerned” the mighty decision-making elite of wealthy entrepreneurs and generals – sitting correspondingly on the golden mountains and on high-tech weapons like Russell’s Herod did on his throne, they starting to understand that democracy is becoming a fashionable facade for monopoly on power and that the people as such are outside of any participation in making decisions their lives depends on. They also find themselves in similar situation with Ken Russell’s John the Baptist.

Posted on Aug, 4 2014 – “Salome’s Last Dance” (1988) by Ken Russell (based on Oscar Wilde‘ Play) by Acting-Out Politics

Posted on Aug, 26 2011 – Ken Russell’s “Salome’s Last Dance” (1988) – Personal Love as an Idolatrous Association with Another Human Being Who Comes to Personify for the Subject Supreme Ontological Value by Acting-Out Politics