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,
In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as ... See full summary »
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
The song sung at the meal is "Sul ponte di Perati" ("On the Bridge of Perati"). This is an Italian Second World War song, based on a First World War song ("Sul ponte di Bassano"). It commemorates a battle involving the 3rd Alpini Division Julia, of Italy's alpine mountain infantry corps. It commemorates the major battle at the Perati Bridge between Greece and Albania, involving Greek and Italian troops. See more »
In the beginning of the film a 1948 Fiat 500 B can be seen. See more »
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 »
Nearly 30 years after its release, 'Salò' continues to enjoy, if that is the word I want, a reputation as a pinnacle of depravity, and thus draws to it both the blood-lusting 'Mondo Cane' crowd, simply interested in being shocked for its own sake, and fans of shock auteurs like Von Trier, Cronenberg, Greenaway et al., who like to look for beauty beneath grotesque surfaces. But both types of viewers will be disappointed to find that the most shocking thing about 'Salò' is how dull it is. Can this film really have raised eyebrows that much in the post-Warhol, post-Waters seventies? Today, its parade of filth and violence actually seems rather tame. You need to have the stomach for it, but it's hardly mind-blowingly horrible.
So, having dealt with 'Salò's' shock elements, I would now move on to its artistic qualities, only there really aren't any. Pasolini's technique is ham-fisted here, reminding one even more of Doris Wishman than of Warhol/Morrissey or Waters, and the content consists of a single thesis statement ('Fascism is bad'). Hardly an idea anybody would argue with, but not exactly profound either. Even as propaganda it's extremely weak--never elaborated in particularly imaginative or interesting or convincing ways. It's like one panel of a none-too-intelligent political cartoon stretched very thin over a two-hour period. Well, here's another rape . . . oh, look, some sh*t-eating . . . well, more torture. Ho hum. 0 out of 10.
58 of 105 people found this review helpful.
Was this review helpful to you?
| Report this