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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Overview

User Rating:
6.0/10   40,667 votes »
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Popularity: ?
Up 3% in popularity this week. See why on IMDbPro.
Writers:
Sergio Citti (screenplay)
Pier Paolo Pasolini (written by)
(more)
Contact:
View company contact information for Salò, or the 120 Days of Sodom on IMDbPro.
Release Date:
10 January 1976 (Italy) See more »
Genre:
Tagline:
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 »
Plot:
Four fascist libertines round up nine adolescent boys and girls and subject them to one hundred and twenty days of physical, mental and sexual torture. Full summary » | Add synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
This film is a political act. Don't buy the lies. See more (385 total) »

Cast

  (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 ... Carlo Porro - Male Victim
Antonio Orlando ... Tonino - Male Victim
Claudio Cicchetti ... Male Victim

Franco Merli ... Male Victim
Umberto Chessari ... Male Victim
Lamberto Book ... Lamberto Gobbi - Male Victim
Gaspare Di Jenno ... Rino - Male Victim
Giuliana Melis ... Female Victim
Faridah Malik ... Fatimah - 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 ... Eva - 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 Bellocchio ... The President (voice) (uncredited)

Laura Betti ... Signora Vaccari (voice) (uncredited)
Giorgio Caproni ... The Bishop (voice) (uncredited)
Alessandro Gennari ... OVRA Officer (uncredited)
Marco Lucantoni ... First Male Victim (uncredited)
Aurelio Roncaglia ... The Magistrate (voice) (uncredited)
Giancarlo Vigorelli ... The Duke (voice) (uncredited)

Directed by
Pier Paolo Pasolini 
 
Writing credits
Sergio Citti (screenplay collaborator)

Pier Paolo Pasolini (written by)

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 (director of photography)
 
Film Editing by
Nino Baragli 
 
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
Enzo Ocone .... post production
 
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)
Aurelio Roncaglia .... voice dubbing: Umberto Paolo Quintavalle (uncredited)
Giancarlo Vigorelli .... voice dubbing: Paolo Bonacelli (uncredited)
 
Thanks
Roland Barthes .... essential bibliography: Sade/Fourier/Loyola
Maurice Blanchot .... essential bibliography: Lautréamont and Sade
Simone de Beauvoir .... essential bibliography: Must We Burn Sade
Pierre Klossowski .... essential bibliography: Sade My Neighbor
Philippe Sollers .... essential bibliography: Writing and the Experience of Limits
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Salò o le 120 giornate di Sodoma" - Italy (original title)
See more »
Runtime:
116 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:18 | Australia:R18+ (1993-1998) (2010) | Australia:RC (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:18 (re-rating) (2000) (uncut) | UK:(Banned) (1976-2000) | USA:Not Rated | West Germany:(Banned) (cinema release) | West Germany:18 (nf) (cut) (original rating)

Did You Know?

Trivia:
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 »
Goofs:
Anachronisms: In the beginning of the film a 1948 Fiat 500 B can be seen.See more »
Quotes:
[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 Rewind This! (2013)See more »
Soundtrack:
Carmina Burana - III. Veris Laeta FaciesSee more »

FAQ

Did anything in this movie happen in real life?
See more »
180 out of 285 people found the following review useful.
This film is a political act. Don't buy the lies., 29 May 2001
Author: Mattydee74 from Sydney, Australia

It is pointless, insulting, and redundant to buy into the defence/condemnation dynamic that Pier Paolo Pasolini's testament so snidely provokes and invites. In making what will remain one of the darkest and most vicious films ever made, Pasolini's bleak vision at the time of this films production in 1975 wanted to make the point that we are not free. We are limited by social restraints and political conditioning which makes us no better than the victims in this powerful, shattering cinema experience. That Pasolini was murdered by a male hustler in JFK-worthy circumstances - before he had time to utterly complete and polish the film - is an apt reminder of the forces of censorship and their merciless, cruel satisfaction in maintaining blank and reprehensible silences.

I refuse to join in the disinfecting and antiseptic treatments that people calling themselves supporters have applied to this film. There are moments of eroticism, beauty and even dark humour in this film and those who seek to castrate and deny Pasolini his humanity and complexity by pretending otherwise are naive if not duplicitous with those who placed this film in the category of "banned" in Australia. To deny Pasolini the distinction of having created a multiple, difficult film with various levels of engagement is to reduce his profound legacy.

Pasolini made this film to make people think hard and harshly and to contemplate themselves. The darkness of the cinema is part of that indictment and denying Pasolini this space for his film is pure evil. He was a disgusted and angry man and this film shares the passions, disapointments and loves of Pasolini. He wanted to change things. To help people. To provoke and make us ponder and contemplate ideas and arguments. That some will not is no revelation. But this is not some far off distant story - Salo is a political electric shock treatment as relevant today and tommorrow as upon its initial release (or non-release as may be the case). Its his most lavish and grand film and also his most personal. Throughout the film we are reminded that this microcosm of society implicates us - our surveillance of the events in this film is an act of violence and violation. Words are weapons wielded by the Duke and his merry bandits as they systematically annihilate the young people under their pointless control.

Pasolini is throwing Salo at us with the pride and courage of a protestor throwing excrement at a politician. This film is a political act. Australia is as dangerous a country as those demonised "foreign" countries with more extreme , exploitable examples of political censorship. Thankfully this film is available in Australia from certain sources but it remains denied its rightful place in the cinema theatre and general, legal release. But at least it can still be seen. The resistance continues. Like the young man who raises his arm in salute against his captors in Salo in the most dire and deadly circumstances. I do the same to Pasolini in less deadly but no less dire circumstance. To one of our greatest modern philosophers and visionaries, Pier Paolo Pasolini, we should be truly thankful.

Was the above review useful to you?
See more (385 total) »

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