Synopsis
The final vision of a controversial filmmaker.
Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture.
Salò, or the 120 Days of Sodom
1975 ‘Salò o le 120 giornate di Sodoma’ Directed by Pier Paolo Pasolini
Cast
Paolo Bonacelli Giorgio Cataldi Umberto Paolo Quintavalle Aldo Valletti Hélène Surgère Sonia Saviange Sergio Fascetti Bruno Musso Franco Merli Rinaldo Missaglia Giuseppe Patruno Guido Galletti Efisio Etzi Claudio Troccoli Fabrizio Menichini Maurizio Valaguzza Ezio Manni Caterina Boratto Elsa De Giorgi Graziella Aniceto Giuliana Melis Faridah Malik Renata Moar Dorit Henke Antiniska Nemour Benedetta Gaetani Olga Andreis Ines Pellegrini
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Popular reviews
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Who would have thought a film with torture, humiliation, fascism, faeces, all-bets-are-off sex, naked people everywhere and crazy, rich Italian fetishists could be so fucking boring!?
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Rats laugh when they are tickled.
Just a happy little fact to cheer me up after that (literal) shit-fest.Rats laugh when they are tickled.
Rats laugh when they are tickled.
Rats laugh when they are tickled.
I'm just going to keep repeating that to myself...If there's one thing that I have to say, it's that, to me, the scariest thing about Salo is the sardonic tone with which it handles its subject matter.
The only other thing that I'll mention, because I'm cinematically exhausted, is it's interesting to me that this film, which is quite possibly the ugliest film ever made, was released in 1975, the same year as Andrei Tarkovsky's Zerkalo/The Mirror, which is quite possibly the most beautiful film ever made. Both films are masterpieces in their own right (or in this case, wrong).
Okay.
Goodnight.
I'm going to go and try to dream about some puppies. -
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the opening credits music sounded like a woody allen film which i thought was odd until i realized that both woody allen and the nazis in this film are pedophiles so it works.
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In the process of finding the correct first sentence to begin with a proper review of Pier Paolo Pasolini's last film Salò o le 120 Giornate di Sodoma, I failed miserably. In fact, I have already written it... it's somewhat hilarious. Words cannot and will not suffice for properly describing the artful subjectivity and political power of this extraordinary piece of art. Open-minded masses, supporter of all artistic expressions and, specifically, Pasolini fans cannot avoid the great personal amazement, pride and joy towards a director that never hesitated to express his anarchic, totalitarian and Marxist ideas through his religious and political manifestos, his daring and controversial magnum opuses, his visionary and influential masterworks. Salò o le 120 Giornate di Sodoma…
Recent reviews
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This film displayed a level of human atrocity that become the most indigestible viewing experience I’ve had. The perverse eroticism of Sognira Maggi’s storytelling was imposed on the kindnapped youngsters under fascist dominace. Their distorted sex awakening was forced to satisfy the fascist libertines’ sodomy pleasure. Altogether it is a piece of art that is allegorical to the abuse of power, and there are also sensations that are blurry, dark, and maybe terrifyingly enticing. It’s a strange movie.
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Provocante, ousado e pertubador. O fascismo choca mais que qualquer filme de terror.
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This film is extremely violent and has a realistic vision of it. Don’t watch this unless you are prepared for something heavy. Honestly I would suggest just reading a synopsis and review instead.
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After having seen it the first time I didn’t know exactly what to make of it. I couldn’t accept the easy interpretation stating it’s just an anti-fascist movie, that would make this film a lazy critique. I actually believed there had to be something else that made this stand out to me so much.
Recently I’ve been dealing with these themes quite a lot - in which I mean the discussion of gratuitous violence and how explicitness can be or not detrimental - and this film was the first to pop up. Perhaps now I’ll be slightly more convinced.
The biggest political statement Salò does is that shock must be shown. Emotions and politics usually don’t get along (or shouldn’t),… -
The cross-eyed guy is the most disgusting motherfucker I've ever seen on film and his jokes suck big time
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