| Photos (See all 15 | slideshow) |
| 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 De Stefanis | .... | producer | |
| Antonio Girasante | .... | producer | |
| Alberto Grimaldi | .... | producer | |
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 manager | |
| Alessandro Mattei | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Umberto Angelucci | .... | first assistant director | |
| Fiorella Infascelli | .... | second assistant director | |
Art Department | |||
| Italo Tomassi | .... | painter (uncredited) | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| 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 | |
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 | |||
| Paula Mitchell | .... | researcher (as Pola Kurlancheek) | |
| Marco Bellocchio | .... | voice dubbing: Aldo Valletti (uncredited) | |
| Laura Betti | .... | voice dubbing: Hélène Surgère (uncredited) | |
| Giorgio Caproni | .... | voice dubbing: Giorgio Cataldi (uncredited) | |
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| A Serbian Film | Ex Drummer | Salon Kitty | Island of Death | Irreversible |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Italy section |
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.