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.
Srdjan 'Zika' Todorovic,
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.
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.
Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »
Pier Paolo Pasolini
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
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 »
The film was rejected for cinema by the BBFC in 1976 and a private showing of the uncut version at the Old Compton Cinema Club in London's Soho resulted in a police raid and confiscation of the movie. A heavily edited version - minus 6 minutes of footage including scenes of torture, homosexuality and excrement eating, and including a 4 minute prologue describing the history of the town of Salo - was later prepared by UK censor James Ferman for club showings. The film was finally passed completely uncut for cinema and video in the UK in December 2000. See more »
Pier Paolo set out to do two things when he made this film. First, he wanted to shock his desensitized audience into feeling something once again. Second, he set out to make a commentary about our morbid voyeuristic impulses. If you are not shocked, you are as disturbed as the libertines who conduct the evil tortures in the film. And if you sit through the film to the end, you are as voyeuristic as these libertines, perhaps making you no better than they are.
In a day and age when we boost television ratings by watching endless media reports on the Columbine Incident, the crash of JFK Jr's plane, and the ethic cleansing in Cosovo, Pasolini's film is timely. We want to see death, to experience shock and horror, and to know the gory details. We are desensitized. "Salo" will shock some sense into you, as I say, and if you last for the duration, Pasolini has made his point about you. Do yourself a favor. Beat Pier Paolo by avoiding this film. Then you've won, and you can spend the two hours watching a sunset or listening to the ocean.
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