The Seventh Veil of Salome
by Silvia Moreno-Garcia
Reviewed by Galen Strickland
Posted August 8, 2024
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All of Silvia Moreno-Garcia's novels have been stand alones. Ten titles so far, ranging across multiple genres, from fantasy, horror, and science fiction. This is the third that does not fit within either of those speculative categories. It can be considered historical fiction, as well as a noir mystery. The Seventh Veil of Salome concerns a film production of the biblical story, set in 1955 Hollywood. Many real actors and directors are mentioned, but they are in the background. All of the main characters are fictional, as is the studio, Pacific Pictures. Director Max Niemann had been trying to mount a production about Salome for several years, and still wanted to complete his version even though he had been upstaged by the 1953 film which starred Rita Hayworth. He had a different take on the character, going through three different screenwriters to get what he wanted, but of course he also insisted on re-writes during filming. He had interviewed and screen-tested almost every notable actress of the day, but for some reason settled on an unknown, Vera Larios from Mexico, whose only acting experiences had been in school and other amateur productions.
The story is told from many different perspectives, beginning with screenwriter Joe Kantor. It is apparent he is being interviewed long after the fact, and he and later interviewees give just the barest hints as to the tragedies that befell Vera and others involved with the film. Vera's story begins when Niemann's assistant, Isadora Christie, is vacationing in Mexico, and has to see a dentist. Vera was the receptionist for her father's dental practice. Isadora is impressed with her looks, and her fluency in English, inviting her to come to Hollywood for a screen test. Vera's mother accompanies her, and they stay with family already in Southern California. Vera's rival is Nancy Hartley, a former child star on stage, and also a few walk-on roles in film. Nancy had previously decided to exit the performing life, but reconsidered after a divorce. She had been back in Hollywood four years, without much to show for it. She was convinced her screen test went well, but she only landed a non-speaking part as one of Salome's maids. She was furious about Vera getting the lead role. Nancy had even more reason to hate Vera when she breaks up with infrequent boyfriend, musician Jay Rutland, who later starts seeing Vera. The fate of the characters are teased so many times through other people's testimony, and yet the exact events are withheld until the very end. It is almost as if different veils of truth (and possibly lies) are lifted throughout, while still keeping the reader in suspense.
The story of Salome has been shaped by many hands over the years. She wasn't identified by name in the Bible, only as the daughter of Herodias who danced for Herod, and demanded the head of John the Baptist at the behest of her mother. Flavius Josephus mentioned a Salome, daughter of Herodias, in his Antiquities of the Jews, but with no reference to the dance. The "Dance of the Seven Veils" wasn't mentioned until Oscar Wilde's 1892 play, then later in the Strauss opera. This book alters her family heritage somewhat, along with her motivations concerning John the Baptist, here referred to as Jokanaan, also from Wilde's play. It is not clear if Max Niemann envisioned a different fate for Salome and Jokanaan, but according to depictions of the story within the other events surrounding the film production, Salome had apparently fallen in love with Jokanaan. Only a few brief scenes on set are described, most of Salome's story being told in prose form. The impression I got is that was the way Vera was thinking it would appear on screen, or perhaps it was from Joe Kantor's perspective. Most of the on-set scenes were about Vera's inadequate line-readings, or her lack of chemistry with the other actors. Yet the description of a dress rehearsal of Salome's dance is one of the best written in the book. I am sure that was from Vera's perspective, how she was identifying with Salome at that moment. It is a scene I would love to see on film.
The gossip and scandals of Hollywood are interwoven throughout, along with the prevalent racism. Nancy, whom the author says was partly based on actress Barbara Payton, is fired from the production after fighting with Vera, which began with her calling Vera a 'beaner.' Vera was inexperienced, both in the ways of Hollywood, and life in general. She had always been a shy and reserved girl, with minimal romantic entanglements before meeting Jay Rutland. She also had to deal with an over-bearing mother, who had always thought Vera's younger sister was the more talented. The studio insists Vera go out to restaurants and parties with her co-star, who pressures her for sexual favors, which Vera rejects. That is something Nancy would have been more prepared to handle. Vera ends up in the gossip magazines, in mostly negative portrayals, which leads Nancy to believe the rumors of a re-casting of Salome. Nancy had multiple problems of her own. She had fallen in with the wrong crowd, and along with other desperate actresses, she associated with gamblers, drug dealers, and pimps, although had not yet fallen to working for the latter. Regardless of all of those problems, many of which were due to her previous actions, Nancy is fixated on revenge against Vera.
Moreno-Garcia once again excels at character development, realistic dialog, and prose that illuminates the emotions involved. I am sure I missed some of the symbolism of the characters, and how that may relate to the story of Salome. In an afterword, Silvia mentions Wilde's play, which had been originally banned for several years, including Sarah Bernhardt's intended performance. Her costume was to be of yellow, which sometimes represents brightness, happiness, but has also been symbolic of jealousy, covetousness, and deceit. Given that interpretation, one might expect Nancy to be the one to wear yellow, but it is Vera in a yellow sundress, as described by Jay Kantor when he first sees her on the studio lot. I suppose that is because she has just been cast as Salome, or maybe it is a case of reverse symbolism. Regardless, the fate that Nancy wished upon Vera more closely paralleled that of Salome. Since none of Silvia's books are part of a series, any of them would be a good introduction to her work. So start here, or go back to her first novel, or anywhere in between. Check the link below for my other reviews. I am sure you will not be disappointed no matter which you read.
Related Link:
The index of my reviews for Silvia Moreno-Garcia.
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