Although the film proved to be popular with some theaters charging extra for tickets to see it, Salomé also proved to be controversial.
For example, St. Louis, Missouri churches of varying denominations organized to protest the showing of the film.
They objected not only to Bara's attire, but also to the divergence of the plot from Biblical text, such as scenes where John the Baptist was preaching in Jerusalem and where Salome declares her love to John, and to the youthful appearance of John.
Objections were also made that children were attending showings of the film.
In response, director Edwards stated that his Salomé was not based upon any single version of the story, but was a combination of many versions and used poetic license.
Edwards also noted the film had a "big, moral lesson" since "Salome, according to a consensus of literary opinion, was the wanton creature criminal history has given us" and who "drove the most diabolical bargain that has ever been known" by bartering "a dance for the head of a man."

Like many American films of the time, Salomé was subject to restrictions and cuts by city and state film censorship boards.
For example, the Chicago Board of Censors required a cut, in Reel 5, of a closeup of Salome in a litter where she raises her arm and exposes a breast, Reel 6, scene of executioner's sword descending, and, Reel 8, in two scenes where Salome is shown bending over dungeon, portions of film where her breasts are exposed.
Although the film proved to be popular with some theaters charging extra for tickets to see it, Salomé also proved to be controversial. For example, St. Louis, Missouri churches of varying denominations organized to protest the showing of the film. They objected not only to Bara's attire, but also to the divergence of the plot from Biblical text, such as scenes where John the Baptist was preaching in Jerusalem and where Salome declares her love to John, and to the youthful appearance of John. Objections were also made that children were attending showings of the film. In response, director Edwards stated that his Salomé was not based upon any single version of the story, but was a combination of many versions and used poetic license. Edwards also noted the film had a "big, moral lesson" since "Salome, according to a consensus of literary opinion, was the wanton creature criminal history has given us" and who "drove the most diabolical bargain that has ever been known" by bartering "a dance for the head of a man."
Like many American films of the time, Salomé was subject to restrictions and cuts by city and state film censorship boards. For example, the Chicago Board of Censors required a cut, in Reel 5, of a closeup of Salome in a litter where she raises her arm and exposes a breast, Reel 6, scene of executioner's sword descending, and, Reel 8, in two scenes where Salome is shown bending over dungeon, portions of film where her breasts are exposed.
Salomé (1918 film)