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