Salò, or the 120 Days of Sodom (1975) Poster


Despite the grim subject throughout the film, in an interview on the second disc of the Criterion Collection box set, actress Hélène Surgère claimed the mood was actually rather jovial on the set and that none of the teenage actors were actually harmed or traumatized. She said the abundance of teenagers who had never acted before led the mood to be happy and at times, even fun, with the cast often playing practical jokes on each other. She also said that the movie was literally "made" in the editing room and the filmmakers had no idea how grim a movie it was until they saw the finished product at the premiere.
This was the final film Pier Paolo Pasolini directed, since he was murdered before the film's release. At the time of the murder, 17 year-old hustler Giuseppe "Pino" Pelosi was arrested when he was found with Pasolini's car. He admitted to ran him over several times with the car after an argument between both and end up convicted of the crime, which many years later he denied participation in it and claiming that three mysterious men were involved in it. The case remains unsolved.
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.
When the movie premiered in West Germany in February 1976 it was confiscated by the state attorney in order to ban it. The district court of Stuttgart classified it as pornographic and violence-praising. A few days later, though, that ruling was reversed and the film was allowed to be distributed nationwide.
Salo received an extremely limited release worldwide and was banned in many countries when it came out. However, in Sweden it received a wide distribution upon release and sold 125,000 tickets. This means that approximately 1,5% of all Swedes saw the movie, and it grossed more than The Omen did in the same country (Salo got its distribution in the year of 1976 in Sweden). The country frequently distributes and releases uncut versions of controversial films. A Serbian Film and Ichi The Killer are two other movies that were released entirely uncut in Sweden.
First part of Pier Paolo Pasolini's "Trilogy of Death". The subsequent two parts were never filmed because Pasolini was murdered a few months after he had finished this movie. The trilogy was intended to complement the previous "Trilogy of Life", including The Decameron (1971), The Canterbury Tales (1972) and Arabian Nights (1974).
Roger Ebert owned the film on laserdisc for years after the film's release but never watched it being intimidated by the graphic content. He died without ever watching it.
The "excrement" in the coprophagia scenes was a mixture of chocolate and orange marmalade, made disgusting by being excessively sweet and added with some other clashing ingredients. The disgusted reactions were real.
An attempt by Sky TV to televise the full uncut version in 1991 was vetoed by the BBFC. It thus became the only film to be rejected for TV screening amongst the works submitted by Sky.
Ennio Morricone, who composed the jazzy soundtrack, said he was very uncomfortable watching the movie. He only agreed to score the film due to being friends with Pasolini.
Even now, some 40 years after its release, the film remains banned in some countries.
Unsure how to bring his film to a proper conclusion, Pier Paolo Pasolini shot 4 different endings.
"Salò", in the title, refers to a town in Lake Garda where the film is set. Italians think of Salò as a reminder of the horrors of Benito Mussolini and his fascist regime.
The notorious scene where a young woman is forced to eat excrement was intended by Pier Paolo Pasolini as a metaphor for consumer capitalism and the rise of the junk food culture.
The Japanese Region 2 DVD released in 2002 contains several more production photos not seen in any extant version of the film. Among them, a girl strapped into an electric chair (presumably during the final scene) and the bodies of the victims arranged in two rows, some covered with sheets, in the courtyard.
When Pier Paolo Pasolini was asked who is the film's audience, he said, "It's for everyone. For people like me."
One of the favorite films of Austrian director Michael Haneke. John Waters is also a fan.
The film was rejected by the British Board of Film Classification in 1975, making it technically illegal to be shown in the UK. When an arthouse cinema in London did show it, they were raided by the police and the film was confiscated. The BBFC revised its opinion of the film in 2000, giving it an 18 certificate, for adults only.
The original August 1998 Criterion Collection DVD was removed from the market due to copyright problems, allegedly concerning a dispute with Pier Paolo Pasolini's estate. This version of the DVD with the "white ring" around the spindle hole was known to sell for $600 (US) or more in good or new condition during the early 2000s. This makes it one of, if not the most, valuable DVDs in the world. However, selling prices on eBay as of 2013 are greatly reduced, due to Criterion re-releasing the film in new DVD and Blu-Ray editions. Bootlegs are still common due to the original printing's value, and research should be done before purchasing.
The film only earned proper censorship approval from the Australian authorities in 2010.
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The story is divided in an "Antinferno" (Hell's vestibule) and three "Gironi" (Hell's circles). This structure is a reference to Dante Alighieri's "Inferno".
Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
The song sung at the meal is "Sul ponte di Perati" ("On the Bridge of Perati"). This is an Italian Second World War song, based on a First World War song ("Sul ponte di Bassano"). It commemorates a battle involving the 3rd Alpini Division Julia, of Italy's alpine mountain infantry corps. It commemorates the major battle at the Perati Bridge between Greece and Albania, involving Greek and Italian troops.
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Several books are quoted throughout the movie, including Friedrich Nietzsche's "On the Genealogy of Morality" (1887), Ezra Pound's "Cantos" (1922-1962), Marcel Proust's "In Search of Lost Time" (1913-1927), and a poem by Gottfried Benn.
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In 1994, an undercover policeman in Cincinnati, Ohio, rented the film from a local gay bookstore, then later arrested the owners for "pandering". A large group of scholars and artists, including Martin Scorsese and Alec Baldwin, signed a legal brief arguing the film's artistic merit; the court dismissed the case because the police violated the owners' Fourth Amendment rights, without reaching the question of whether the film was obscene.
In at least three scenes, when the four "villains" enter a room, they walk over a beam of light that's coming from outside.
Pupi Avati made some uncredited contributions to the script.
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The bibliography given on the opening title is: Roland Barthes, "Sade, Fourier, Loyola" (1971); Maurice Blanchot, "Lautréamont et Sade" (1949); Pierre Klossowski, "Sade, mon prochain" (1947); Philippe Sollers, "L'écriture et l'experience del limites" (1968); Simone de Beauvoir, "Faut-il brûler Sade" (1955).
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Maurizio Costanzo worked on an early version of the script.
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Screened at Locarno International Film Festival in 1976 in the "Programme principal / Longs métrages Hors compétition" section. It won the International Critics Special Award.
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The opening title include an "essential bibliography" compiled by director Pier Paolo Pasolini: -Roland Barthes. "Sade/Fourier/Loyola," 1971. Trans. Richard Miller. Baltimore, Maryland: Johns Hopkins University Press, 1997; -Maurice Blanchot. "Lautréamont and Sade," 1949. Trans. Stuart Kendell and Michelle Kendell. Stanford, California: Stanford University Press, 2004; -Simone de Beauvoir. "Must We Burn Sade?" 1955. Trans. Annette Michelson, in "The 120 Days of Sodom and Other Writings". New York, New York: Grove Press, 1966; -Pierre Klossowski. "Sade my Neighbor," 1950. Trans. Alphonso Lingis. Evanston, Illinois: Northwestern University Press, 1991; -Philippe Sollers. "Writing and the Experience of Limits," 1971. Trans. and eds. Philip Bernard and David Hayman. New York, New York: Columbia University Press, 1983.
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One of actor David Cross' favorite movies
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