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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:

Direct from the New York Film Festival showing 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

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. 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 uncut version of this film was seized by the UK police. The version available for club-membership showings was cut according to the specifications of the Director of Public Prosecutions. Six minutes were cut and an explanatory prologue of four minutes was added. See more »

Connections

Referenced in The Cinema Snob: Beyond the Darkness: Buio Omega (2015) See more »

Soundtracks

Inno a Roma
(torture scene)
Composed by Giacomo Puccini
See more »

Frequently Asked Questions

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User Reviews

This film is a political act. Don't buy the lies.
29 May 2001 | by Mattydee74See all my reviews

It is pointless, insulting, and redundant to buy into the defence/condemnation dynamic that Pier Paolo Pasolini's testament so snidely provokes and invites. In making what will remain one of the darkest and most vicious films ever made, Pasolini's bleak vision at the time of this films production in 1975 wanted to make the point that we are not free. We are limited by social restraints and political conditioning which makes us no better than the victims in this powerful, shattering cinema experience. That Pasolini was murdered by a male hustler in JFK-worthy circumstances - before he had time to utterly complete and polish the film - is an apt reminder of the forces of censorship and their merciless, cruel satisfaction in maintaining blank and reprehensible silences.

I refuse to join in the disinfecting and antiseptic treatments that people calling themselves supporters have applied to this film. There are moments of eroticism, beauty and even dark humour in this film and those who seek to castrate and deny Pasolini his humanity and complexity by pretending otherwise are naive if not duplicitous with those who placed this film in the category of "banned" in Australia. To deny Pasolini the distinction of having created a multiple, difficult film with various levels of engagement is to reduce his profound legacy.

Pasolini made this film to make people think hard and harshly and to contemplate themselves. The darkness of the cinema is part of that indictment and denying Pasolini this space for his film is pure evil. He was a disgusted and angry man and this film shares the passions, disapointments and loves of Pasolini. He wanted to change things. To help people. To provoke and make us ponder and contemplate ideas and arguments. That some will not is no revelation. But this is not some far off distant story - Salo is a political electric shock treatment as relevant today and tommorrow as upon its initial release (or non-release as may be the case). Its his most lavish and grand film and also his most personal. Throughout the film we are reminded that this microcosm of society implicates us - our surveillance of the events in this film is an act of violence and violation. Words are weapons wielded by the Duke and his merry bandits as they systematically annihilate the young people under their pointless control.

Pasolini is throwing Salo at us with the pride and courage of a protestor throwing excrement at a politician. This film is a political act. Australia is as dangerous a country as those demonised "foreign" countries with more extreme , exploitable examples of political censorship. Thankfully this film is available in Australia from certain sources but it remains denied its rightful place in the cinema theatre and general, legal release. But at least it can still be seen. The resistance continues. Like the young man who raises his arm in salute against his captors in Salo in the most dire and deadly circumstances. I do the same to Pasolini in less deadly but no less dire circumstance. To one of our greatest modern philosophers and visionaries, Pier Paolo Pasolini, we should be truly thankful.


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