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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.
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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
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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:

The final vision of a controversial filmmaker See more »

Genres:

Drama | Horror | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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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 »
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Did You Know?

Trivia

This film is part of the Criterion Collection, spine #17. See more »

Goofs

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 »

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

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 »

Connections

Referenced in Atop the Fourth Wall: The Movie (2015) See more »

Soundtracks

Prelude in C minor
Composed by Frédéric Chopin
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Frequently Asked Questions

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User Reviews

You can beat Pier Paolo at his own game
28 July 1999 | by giuseppe pelosi-3See all my reviews

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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