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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:
... The Duke
... The Bishop
... The Magistrate (as Umberto P. Quintavalle)
Aldo Valletti ... The President
... Signora Castelli
... Signora Maggi
... Signora Vaccari (as Helene Surgere)
... The Pianist
Sergio Fascetti ... Male Victim
Bruno Musso ... Carlo Porro - Male Victim
Antonio Orlando ... Tonino - Male Victim
Claudio Cicchetti ... Male Victim
... Male Victim
Umberto Chessari ... Male Victim
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:

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:

 »
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Details

Country:

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Language:

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Release Date:

19 May 1976 (France)  »

Also Known As:

Salò, or the 120 Days of Sodom  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

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. 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.
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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 »

Connections

Referenced in Due bounty killer per un massacro (2007) See more »

Soundtracks

Prelude in C minor
Composed by Frédéric Chopin
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Frequently Asked Questions

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User Reviews

 
Fascism via De Sade
22 November 2005 | by See all my reviews

I'm going to keep this short. If you want to see Salo simply to see what all the hype is about, keep your $600. Or rent it. If you can find it. I happen to own the Criterion release that is now being ripped and sold on Ebay for $400-600 bucks. Is it worth it? No. Is any film? No. Is it an excellent film? Absolutely.

Try not to think of Pasolini's masterpiece as a shock-for-shock's sake project and you'll truly understand the horror that is Salo. While the depiction of violence, sodomy, corpophagia, eye-gouging, scalping, nipple burning with candles, etc. etc. is horrific it is Pasolini's treatment of the boys and girls that is much more horrifying.

The monsters that occupy this small space of two hours, the fascists, are more human that their victims. We are given no insight into the lives of these children, while we are shown at great length the heads of state personal histories and sadistic proclivities.

Salo has stood the test of time because of it's unflinching portrayal of human violence and idealism, and the fact that, as the Criterion collection states: "Moral redemption may be nothing but a myth." Be warned: for many, Salo is a film not easily shaken off after a single viewing.


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