As was proper, very little of the tale was thrown on the screen in reading matter, and no climax was ever a printed word, but always an enthralling tableau.
The particular history of Judith begins with the picture of her as the devout widow.

She is austerely garbed, at prayer for her city, in her own quiet house.

Then later she is shown decked for the eyes of man in the camp of Holofernes, where all is Assyrian glory.

Judith struggles between her unexpected love for the dynamic general and the resolve to destroy him that brought her there.

In either type of scene, the first gray and silver, the other painted with Paul Veronese splendor, Judith moves with a delicate deliberation.