by BERTIE MANDELBLATT

When it comes to filming dance, the figure of Carlos Saura has dominated the horizon for over 20 years. The Spanish director has worked with the genres of ballet, flamenco and classical Spanish dance, among others, in such films as Blood Wedding (1981), Carmen (1983) and Tango (1998). In all of these films, Saura's real genius has not been simply in his filming of spectacular dance sequences, but rather in his ability to create a new cinematic form that has dance at its centre.

His new film, Salomé, resembles his earlier films in this way, in its spinning together of the internal dance narrative and an overall film structure. Clearly, Saura is a sucker for Passion and Melodrama of operatic proportions, and the biblical story of Salomé, a knotted tale of desire, vengeance and power, fits this profile perfectly. In the story, the lovely but vengeful Salomé falls in love with the extremely righteous John the Baptist, who not only spurns her love but also denounces her mother's new alliance with Herod, the brother of Salomé's father. In turn, Herod, the governor of Galilee, falls for Salomé, his own stepdaughter. In return for dancing the famed dance of the seven veils for Herod, Salomé demands the head of John the Baptist on a platter. Herod is happy to comply, as the holy John the Baptist poses a political threat to Herod's own position. And so the story ends with the martyred Saint John the Baptist. (Okay, so this plot probably demands a flow chart. We don't have room for one.)

The film, however, is not restricted to the storyline. It begins with a quick explanation of the plot, via a director/choreographer character who narrates the film, and then introduces the principal dancers. Slowly, the images of rehearsal give way to the ultimate performance, a heartrending yet minimalist staging of original choreography. Interestingly, the production was never staged before an audience; it was only intended to be filmed. This film is essential viewing for anyone interested in dance. Equally, it shouldn't be missed by those like myself who are fascinated with seeing the outer edges of performance, and the ways in which it takes shape over time.

Salomé opens Friday, Aug. 8

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