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Pasolini made Salò as an extreme expression of his fury and despair at the world. The student 'revolution' of 1968 had come to nothing and the same conservative, exploitative forces were firmly in power everywhere. Pasolini was a confirmed Communist and conducted a rather risky homosexual life. He was greatly admired by intellectual leftists in the Italian film industry. Pasolini's previous career was not a succession of shocking movies. His The Gospel According to St. Matthew, a devout film about the life of Jesus, was honored worldwide. Pasolini filmed his passion play with simple peasants instead of movie stars, emphasizing teachings over miracles.
The victims spend much of the movie nude and vulnerable. In Pasolini's previous three "human celebration" films (The Decameron is one) nudity was presented as beautiful and healthy. Salò offers no outlet for our anguish. The pale, trembling victims quiver in numbed shame, and considering what is in store for them, eventually wish they had no bodies to be punished. Pasolini reserves the only gesture of defiance for a proud young man caught having forbidden heterosexual sex. Before he is shot down, he raises his fist in a Communist salute. 1
Each night of humiliation begins with a formal gathering in the salon. Several 'hostesses', aged prostitutes and madams in beautiful hair and gowns, tell stories of sexual depravity. As in the de Sade novel, the libertines speak at length of their philosophy and explain the perverse rules that classify their captives as human garbage suitable only for degradation. Given official approval to dispose of the condemned in any way they please, they entertain their sadistic fantasies as if on a mission of self-discovery, and exult in every vile or disgusting thing their minds can imagine. The movie shows it all happening, albeit with substitutions for bodily excretions and elaborate makeup for the abominable mutilations.
Enforcing the outrages is a small corps of machine-gun toting male guards that double as homosexual partners for the libertines. The guards are swept up in the illogical death wish as well, as seen in the final chapter. Pasolini gives the audience no identification surrogates. Every individual is either a pitiless oppressor or a doomed victim. There's no sense of humor, especially not in the libertine's wretched jokes. The movie is emotionally as cold as ice. It is not by any means sexy, quite the opposite.
The clincher is that there is an audience. The libertine observers are fifty yards away, watching from behind windows. They use opera glasses to view close-ups of the worst atrocities. At that distance, with loud music playing, they can't hear the cries and screams from the arena. Death is placed at a discreet remove for the comfort of the observer -- like Television with the audio turned down. The victims can't even pretend that someone observing might save them -- they're unaware that they're providing the afternoon's entertainment. This perverse setup reminds of the accusatory horrors of Psycho or Peeping Tom, "civilized" genre movies constructed on sick ideas. Because we also are morbidly curious, because we also want to see, Pasolini implicates us in the Sadean experience. We're locked into the horrible beauty of the images, the faces of the victims in extremis and the leering, horrid faces of the libertines -- and Pasolini gives us no "out." There's nowhere else to turn, no resolution and no escape.
Salò, or the 120 Days of Sodom challenges most of the accepted definitions of public film exhibition. Can a movie so transgressive be a masterpiece as many critics claim? Because most people will see Salò without knowing much about Pasolini or his politics, those championing the film might appear to be elitists that have lost contact with reality -- "suspect intellectuals" trying to pass off excrement as art. Pasolini doesn't fit into that common assumption. One of the film's Fascists says that he hates being associated with idiots generalized as "the people"; Pasolini is known for his understanding and sympathy for peasants and Roman street hustlers. 2
But average "bourgeois" audiences associate content like that in Salò with extreme exploitation fare: pornography, Herschel Gordon Lewis gore pictures, modern Torture Chic horrors. Taboo underground films exist that extol just about every human perversion imaginable, both real and fake. This is an art film by a filmmaker who believes in his theme and chooses clarity over cinematic style. Pasolini wanted an ultimate expression of disgust and despair, and by and large achieved it. Salò is not the kind of movie that will find critical consensus or wide acceptance. Not anywhere.
4. Atrocities, sadly, are relative. A make-believe movie about dangerous ideas and repulsive -- but clearly faked -- atrocities is Taboo, but government leaders can blithely dismiss qualms about systematized torture on national television, arguing semantic definitions of water-boarding. A hit TV show made millions popularizing the repulsive falsehood that torture is good and necessary. As for Pasolini's disgusting visuals, don't forget that only a few years ago American public high schools regularly showed traffic safety atrocity films to impressionable teens and children, films full of authentic shock images of screaming accident victims and bloody, mutilated corpses. Disgusting gore horror is apparently acceptable when implemented by Puritans. Return
Pier Paolo Pasolini's "Salò o le 120 giornate di Sodoma" ("Salò, or the 120 Days of Sodom" in English) turned out to be his final movie, and got released a few weeks after his murder. Since he was known for movies that riled the authorities, this was a natural choice for him. While the main thing that one notices is the shock value, Pasolini noted that he intended the movie as a look at the relation between power and its subjects. Indeed, for what reason did Mussolini turn Italy into a police state but to let the ruling class be able to do whatever they wanted? To be certain, the middle-aged prostitutes who tell the young men stories to sexually arouse them are the equivalent of bread and circuses.Basically, it's a story of humanity's base impulses taken to their horrific extremes. It's easy to view this as one of the most disgusting movies ever filmed, but Pasolini made it to indict fascism and Italy's ruling class in general. I recommend it, but only watch it if you have a strong stomach.
In 1944/1945, in Italy, Fascists capture some locals and submit them to tortures and humiliations. Yesterday I watched this sick film on cable TV for the first time, since it has not been released on VHS or DVD in Brazil. Sorry, guys, but I really disagree with the opinion of many IMDB users: I did not find any art, culture or entertainment in this film. I found it worthwhile to watch it once, just to know this Pasolini's flick, but in my opinion it is a crap. It is very similar to Tinto Brass porno-chic `Caligola', which at least has a great cast. The intention of shocking with Saló is achieved, but I do not need to see a girl eating s**t to be aware of the horrors of the fascists in Italy in Mussolini's period. Let me leave a question for those who like this film and say that it is a masterpiece: `- Would you invite your mother, your son or your daughter to watch this movie with you after dinner?' My vote is four.Title (Brazil): `Saló ou Os 120 Dias de Sodoma' (`Saló or The 120 Days of Sodom)
Filmmakers Akira Kurosawa, Luis Buñuel, Satyajit Ray, Steven Spielberg, Jean Cocteau, Carl Theodor Dreyer, Richard Linklater, Tsai Ming Liang, Woody Allen, Richard Lester, P C Sreeram, Norman Jewison, Wes Anderson and Nicolas Cage have cited The 400 Blows as one of their favorite movies.[21][22] Kurosawa called it "one of the most beautiful films that I have ever seen".[23]
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