IMDb > Salò, or the 120 Days of Sodom (1975)
Salò o le 120 giornate di Sodoma
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Salò, or the 120 Days of Sodom (1975) More at IMDbPro »Salò o le 120 giornate di Sodoma (original title)

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Pier Paolo Pasolini (written by) and
Sergio Citti (screenplay)
View company contact information for Salò, or the 120 Days of Sodom on IMDbPro.
Release Date:
10 January 1976 (Italy) See more »
Banned in Australia for 17 years - Now for the first time Australian audiences have the opportunity to judge one of the most controversial films in the history of cinema. A work of rigorous moral intelligence or a descent into a nightmare of cruelty and lust? (1993) See more »
Four fascist libertines round up nine adolescent boys and girls and subject them to a hundred and twenty days of physical, mental and sexual torture. Full summary » | Add synopsis »
Plot Keywords:
1 win See more »
User Reviews:
One of the most gruelling films ever made See more (367 total) »


  (in credits order) (verified as complete)
Paolo Bonacelli ... The Duke
Giorgio Cataldi ... The Bishop
Umberto Paolo Quintavalle ... The Magistrate (as Umberto P. Quintavalle)
Aldo Valletti ... The President

Caterina Boratto ... Signora Castelli
Elsa De Giorgi ... Signora Maggi
Hélène Surgère ... Signora Vaccari (as Helene Surgere)
Sonia Saviange ... The Pianist
Sergio Fascetti ... Male Victim
Bruno Musso ... Male Victim
Antonio Orlando ... Male Victim
Claudio Cicchetti ... Male Victim

Franco Merli ... Male Victim
Umberto Chessari ... Male Victim
Lamberto Book ... Male Victim
Gaspare Di Jenno ... Male Victim
Giuliana Melis ... Female Victim
Faridah Malik ... Female Victim
Graziella Aniceto ... Female Victim
Renata Moar ... Female Victim
Dorit Henke ... Female Victim
Antiniska Nemour ... Female Victim (as Antinisca Nemour)
Benedetta Gaetani ... Female Victim
Olga Andreis ... Female Victim
Tatiana Mogilansky ... Daughter
Susanna Radaelli ... Daughter
Giuliana Orlandi ... Daughter
Liana Acquaviva ... Daughter
Rinaldo Missaglia ... Guard
Giuseppe Patruno ... Guard
Guido Galletti ... Guard
Efisio Etzi ... Guard
Claudio Troccoli ... Collaborator
Fabrizio Menichini ... Collaborator
Maurizio Valaguzza ... Collaborator
Ezio Manni ... Collaborator
Paola Pieracci ... Wife
Carla Terlizzi ... Wife
Anna Maria Dossena ... Wife
Anna Recchimuzzi ... Wife
Ines Pellegrini ... The Slave Girl
rest of cast listed alphabetically:
Marco Lucantoni ... First Male Victim (uncredited)

Directed by
Pier Paolo Pasolini 
Writing credits
Pier Paolo Pasolini  written by and
Sergio Citti  screenplay collaborator

Pupi Avati  uncredited
Marquis de Sade  novel "Les 120 Journées de Sodome" (uncredited)

Produced by
Alberto Grimaldi .... producer
Alberto De Stefanis .... producer (uncredited)
Antonio Girasante .... producer (uncredited)
Original Music by
Ennio Morricone 
Cinematography by
Tonino Delli Colli 
Film Editing by
Nino Baragli 
Tatiana Casini Morigi 
Enzo Ocone 
Production Design by
Dante Ferretti 
Set Decoration by
Osvaldo Desideri 
Costume Design by
Danilo Donati 
Makeup Department
Giusy Bovino .... hair stylist (as Giusi Bovino)
Osvaldo Desideri .... makeup artist
Alfredo Tiberi .... makeup artist
Production Management
Renzo David .... production supervisor
Alberto De Stefanis .... unit manager
Antonio Girasante .... production manager
Alessandro Mattei .... production supervisor
Angelo Zemella .... production supervisor
Second Unit Director or Assistant Director
Umberto Angelucci .... first assistant director
Fiorella Infascelli .... second assistant director
Art Department
Maria-Teresa Barbasso .... draughtswoman
Italo Tomassi .... painter (uncredited)
Sound Department
Fausto Ancillai .... sound mixer
Massimo Anzellotti .... sound effects editor
Giorgio Loviscek .... sound
Domenico Pasquadibisceglie .... sound
Giuseppina Sagliano .... boom operator
Special Effects by
Alfredo Tiberi .... special effects
Camera and Electrical Department
Sandro Battaglia .... first assistant camera
Deborah Imogen Beer .... still photographer (as Deborah Beer)
Emilio Bestetti .... camera operator
Giancarlo Granatelli .... second assistant camera
Carlo Tafani .... camera operator
Costume and Wardrobe Department
Vanni Castellani .... costume assistant
Editorial Department
Stephen Bearman .... colorist (digitally restored version)
Ugo De Rossi .... assistant editor
Alfredo Menchini .... assistant editor
Music Department
Arnaldo Graziosi .... musician: piano
Other crew
Beatrice Banfi .... script supervisor
Vittorio Cudia .... assistant secretary
Maurizio Forti .... administrator
Alberto Grimaldi .... presenter
Pietro Innocenti .... administrator
Nico Naldini .... publicist
Marco Bellocchio .... voice dubbing: Aldo Valletti (uncredited)
Laura Betti .... voice dubbing: Hélène Surgère (uncredited)
Giorgio Caproni .... voice dubbing: Giorgio Cataldi (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Salò o le 120 giornate di Sodoma" - Italy (original title)
See more »
116 min
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:18 | Australia:R (2010) | Australia:(Banned) (1976-1993) (1998-2010) | Brazil:18 | Canada:R (Ontario) | Canada:18+ (Quebec) | Chile:18 | Finland:K-18 (2001) | Finland:(Banned) (1976) | France:16 | France:X (original rating) | Germany:BPjM Restricted | Germany:Not Rated (SPIO/JK) (uncut) (2005) | Hungary:18 | Italy:(Banned) (original rating) | Italy:VM18 (re-rating on appeal) | Japan:R-18 | Malaysia:(Banned) | Mexico:D (cut) | Netherlands:16 | New Zealand:(Banned) (original rating) | New Zealand:R18 (re-rating) (2001) (uncut) | Norway:18 (re-rating) (2005) (video premiere) | Norway:(Banned) (1976-2003) (cinema release) | Portugal:M/18 | Singapore:Unrated | Spain:18 | Sweden:15 | Sweden:15 (uncut) | UK:X (original rating) (cut) (alternate footage) | UK:18 (re-rating) (2000) (uncut) | USA:Not Rated | West Germany:(Banned) (cinema release) | West Germany:18 (nf) (cut) (original rating)

Did You Know?

Salo is a town in Northern Italy where Benito Mussolini's Fascist government effectively made their capital from 1943 until they fell from power in 1945. The place had particular relevance for Pier Paolo Pasolini as his brother had been killed there.See more »
Anachronisms: In the beginning of the film a 1948 Fiat 500 B can be seen.See more »
[first lines]
[four men, sitting at a table, each sign a booklet]
The Duke:Your Excellency.
The Magistrate:Mr. President.
The President:My lord.
The Bishop:All's good if it's excessive.
See more »
Movie Connections:
Referenced in Paprika (1991)See more »
Son tanto tristeSee more »


Did anything in this movie happen in real life?
See more »
343 out of 392 people found the following review useful.
One of the most gruelling films ever made, 17 January 2005
Author: world_of_weird from England

Pier Paolo Pasolini, as is well known, was murdered not long after he finished work on this, his most audacious and confrontational film, yet even the most casual viewing of SALO begs the question - had he not been murdered, would he have taken his own life anyway? Every sequence, every shot and practically every moment of this film is so burdened with despair, barely concealed rage and a towering disgust with the human race, one gets the impression that Pasolini was barely hanging onto life - and any attendant shreds of hope - by his fingernails. Although ostensibly an adaptation of one of DeSade's most depraved works channeled through the horrifying excesses of the Second World War with the Fascist ruling classes as its (authentically vile) villains, SALO also contains a lot of contemporary criticism - Pasolini hated the modern world, and explained the stomach-churning 'banquet of s**t' as a none-too-subtle attack on the encroaching global domination of the fast food chains. (The scenes of sexual excess can similarly be read as a despairing attack on the permissive society - those who come to SALO expecting titillation or B-movie sleaze will be sorely disappointed.) Beyond the nihilistic content, which has been well documented elsewhere, the film has an overall mood that seems to have been engineered to make the viewer thoroughly depressed. Shot on washed-out, faded film stock using primarily static cameras, long shots, choppy editing and very few cutaways, SALO has a visual style reminiscent of cinema-verite documentary. Add to this the unnerving use of big band music, piano dirges and the (intentionally?) scrappy post-dubbed dialogue, and the distancing effect on the viewer is complete. SALO comes across as one long primal scream of rage, designed to shake the viewer out of his complacency, and in this respect, the film succeeds unequivocally. Whether or not you would care to watch this more than once, or indeed for 'entertainment', is another matter, but SALO is an important film that demands a careful viewing ONLY by those prepared for it.

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Recent Posts (updated daily)User
This or Serbian Film? kittylove15
Has anyone read De Sade's 120 Days of Sodom? Ser_Pounce_Is_My_Homeboy
Surprisingly Goodj seth-shaw23
The piano player (spoilers) newgirl12
Who else thinks the scriptwriter /director lost his mind? axelpuri
Where can I legally watch this? Ser_Pounce_Is_My_Homeboy
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