5.9/10
48,811
410 user 174 critic

Salò, or the 120 Days of Sodom (1975)

Salò o le 120 giornate di Sodoma (original title)
Not Rated | | Drama, Horror, War | 19 May 1976 (France)
In World War II Italy, 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.
Reviews
Popularity
770 ( 168)

On Disc

at Amazon

1 win. See more awards »

Videos

Photos

Learn more

More Like This 

The Decameron (1971)
Comedy | Drama | History
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

An adaptation of nine stories from Boccaccio's "Decameron".

Director: Pier Paolo Pasolini
Stars: Franco Citti, Ninetto Davoli, Jovan Jovanovic
Horror | Mystery | Thriller
    1 2 3 4 5 6 7 8 9 10 5.1/10 X  

An aging porn star agrees to participate in an "art film" in order to make a clean break from the business, only to discover that he has been drafted into making a pedophilia and necrophilia themed snuff film.

Director: Srdjan Spasojevic
Stars: Srdjan 'Zika' Todorovic, Sergej Trifunovic, Jelena Gavrilovic
Adventure | Horror
    1 2 3 4 5 6 7 8 9 10 5.9/10 X  

During a rescue mission into the Amazon rainforest, a professor stumbles across lost film shot by a missing documentary crew.

Director: Ruggero Deodato
Stars: Robert Kerman, Francesca Ciardi, Perry Pirkanen
Comedy | Drama | History
    1 2 3 4 5 6 7 8 9 10 6.5/10 X  

Pasolini's artistic, sometimes violent, always vividly cinematic retelling of some of Chaucer's most erotic tales.

Director: Pier Paolo Pasolini
Stars: Hugh Griffith, Laura Betti, Ninetto Davoli
Comedy | Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

Ancient Arabia. A youth is chosen by a beautiful slave girl to be her new master; she is kidnapped and they must search for each other. Stories are told within stories; love, travel and the whims of destiny.

Director: Pier Paolo Pasolini
Stars: Ninetto Davoli, Franco Citti, Franco Merli
Teorema (1968)
Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

A mysterious young man seduces each member of a bourgeois family. When he suddenly leaves, how will their lives change?

Director: Pier Paolo Pasolini
Stars: Silvana Mangano, Terence Stamp, Massimo Girotti
Irréversible (2002)
Crime | Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

Events over the course of one traumatic night in Paris unfold in reverse-chronological order as the beautiful Alex is brutally raped and beaten by a stranger in the underpass.

Director: Gaspar Noé
Stars: Monica Bellucci, Vincent Cassel, Albert Dupontel
Biography | Drama | History
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

The life of Jesus Christ according to the Gospel of Matthew. Pasolini shows Christ as a Marxist avant-la-lettre and therefore uses half of the text of Matthew.

Director: Pier Paolo Pasolini
Stars: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini
Antichrist (2009)
Drama | Horror
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

A grieving couple retreat to their cabin in the woods, hoping to repair their broken hearts and troubled marriage, but nature takes its course and things go from bad to worse.

Director: Lars von Trier
Stars: Willem Dafoe, Charlotte Gainsbourg, Storm Acheche Sahlstrøm
Martyrs (2008)
Horror
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.

Director: Pascal Laugier
Stars: Morjana Alaoui, Mylène Jampanoï, Catherine Bégin
Oedipus Rex (1967)
Drama
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »

Director: Pier Paolo Pasolini
Stars: Franco Citti, Silvana Mangano, Alida Valli
Horror
    1 2 3 4 5 6 7 8 9 10 4.4/10 X  

A mad scientist kidnaps and mutilates a trio of tourists in order to reassemble them into a human centipede, created by stitching their mouths to each others' rectums.

Director: Tom Six
Stars: Dieter Laser, Ashley C. Williams, Ashlynn Yennie
Edit

Cast

Cast overview, first billed only:
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 Sergio Fascetti ... Male Victim
Bruno Musso Bruno Musso ... Carlo Porro - Male Victim
Antonio Orlando Antonio Orlando ... Tonino - Male Victim
Claudio Cicchetti Claudio Cicchetti ... Male Victim
Franco Merli ... Male Victim
Umberto Chessari Umberto Chessari ... Male Victim
Lamberto Book Lamberto Book ... Lamberto Gobbi - Male Victim
Edit

Storyline

Nazi-Fascist Northern Italy, 1943-44. Four senior members of government, aided by henchmen and Nazi soldiers, kidnap a group of young men and women. They hold them for 120 days, subjecting them to all manner of torture, perversion and degradation. Written by grantss

Plot Summary | Add Synopsis

Taglines:

A disturbing motion picture for mature audiences who are prepared to view it. See more »

Genres:

Drama | Horror | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
Edit

Details

Country:

Italy | France

Language:

Italian | French | German

Release Date:

19 May 1976 (France) See more »

Also Known As:

Salò, or the 120 Days of Sodom See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
Edit

Did You Know?

Trivia

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). See more »

Goofs

When the Duke kisses several victims during Sergio and Renata's wedding, some victims and Ezio begin to laugh, off the character. 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 »

Crazy Credits

Essential Bibliography: Roland Barthes: 'Sade, Fourier, Loyola' (Editions du Seuil); Maurice Blanchot: "Lautréamont et Sade' (Editions de Minuit; in Italy Dedalo Libri); Simone de Beauvoir: 'Faut-il brûler Sade' (Editions Gaimard); Pierre Klossowski: 'Sade mon prochain, le philosophe scélérat' (Editions du Seuil; in Italy SugarCo Edizioni); Philippe Sollers: 'L'écriture et l'experience des limites' (Editions du Seuil) See more »

Alternate Versions

Salo has had a colorful history with Australian censorship boards. It was banned in Australia for 18 years before being re-submitted for a classification with the Office of Film and Literature (OFLC) in December 1992. It was then banned again by the full board of classifiers. The distributor at the time, Premium Films, appealed the decision to the Classification Review Board in early 1993. This Review Board lifted the ban and granted it an uncut cinema release with an R rating. It enjoyed a stint at arthouse cinemas in 1993, and again in 1996. The conservative Queensland Attorney-General, who caught wind of this re-release, applied for a review of the film in 1997 with the OFLC. They initially confirmed its R rating. The Attorney-General, unhappy with this decision, applied to the Classification Review Board for a complete review of its classification. This Board decided to ban it again. A DVD version was submitted in 2010 and passed by the Classification board as an R18+ on the basis of "176 minutes of additional material of behind-the-scenes footage which served to give the film context and reinforce its fictional nature", and this R18+ was confirmed by the Classification Review Board. See more »

Connections

Featured in Pasolini (2014) See more »

Soundtracks

Prelude in E minor
Composed by Frédéric Chopin
See more »

Frequently Asked Questions

See more »

User Reviews

Not a Film about Fascism at all
22 November 2001 | by Ariel6See all my reviews

Pasolini made it quite clear in several texts that this is not an anti-fascist film, but rather that fascism is a symbol for something far more pervasive. He ultimately saw himself as a committed director, and thus all of his historical films are about the present, and this film was made in the 70's, not in the 40's. It is rather an anti-bourgeois film. (Pasolini's political enemies at the time were not fascists at all, but the Christian Democrats)...Furthermore it is NOT a defense of Sade, but an apology for his earlier writings and films which mythicized acts of violence and glorified them as the pure, unconscious, pre-verbal expression of the subproletariat. However Pasolini saw the riots of the bourgeois students in 1968 as nihilistic acts of revolt, not revolution--a revolt of the Bourgeoise against itself, as his poetry makes clear. He watched in horror as he saw his vision of true revolution twisted into a childish and merely destructive tantrum against the previous generation. And so it is the Bourgeoise, symbolized by Fascism, which he represents and condemns in Salo, in the guise of what he considered to be a medieval morality play. And it is in this context that he apologizes for having made statements like "Only a bloodbath can save the world" (1962), which is quoted in the film. Yet, like everything else, it has been appropriated by the bourgeoise, who misinterpret it first as Nietzsche, then as St. Paul, until it gets reduced to a merely absurdist Dada interpretation. The characters are continually misinterpreting the many structuralist citations, because they have no history. History has been destroyed, and thus Pasolini is trying to re-introduce it in the film. The revolution, by 1968, was impossible, as there was nobody left to fight it. The bourgeoise, Pasolini lamented, had subsumed everything into itself-there was no "other", only a technological god-like and all-inclusive power structure. But what is most shocking is that it is the Sadean libertarianism and the permissivness of that class that Pasolini finds most disturbing. He held that the permissiveness of the "anarchy of power" was more tyrannical than repression. He was most traumitized, oddly, by the increasing tolerance of homosexuals. And so truely Pasolini takes the side of Dante, not Sade. And finally, its ultimately a film about misinterpretation. What the characters say and what they do (as in Sade) are incongruent. He knew that he was to be misunderstood by his Bourgeois audience, as it misunderstood itself, Pasolini said that it was intrinsic that Salo remain enigmatic (on the model of Dante), and this is the film's real genius. Judging by most of these reviews, Pasolini made his point.


25 of 39 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 410 user reviews »

Contribute to This Page

Free Movies and TV Shows to Watch Now

On IMDb TV, you can catch Hollywood hits and popular TV series at no cost. Select any poster below to play the movie, totally free!

Browse all our free movies and TV series

Stream Trending TV Series With Prime Video

Explore popular and recently added TV series available to stream now with Prime Video.

Start your free trial



Recently Viewed