Product Details

• Amazon Sales Rank: #28499 in DVD
• Released on: 2001-04-02
• Rating: Suitable for 18 years and over
• Aspect ratio: 1.85:1
• Number of discs: 1
• Formats: PAL, Widescreen
• Original language: French, German, Italian
• Subtitled in: English
• Number of discs: 1
• Running time: 112 minutes

Amazon.co.uk Review
Pier Paolo Pasolini's Salò or the 120 Days of Sodom (known in Italian as Salò o le 120 giornate di Sodoma) provoked howls of outrage and execration on its original release in 1975, and the controversy rages to this day. Until the British Board of Film Classification finally ventured a certificate in 2000, the movie could only be shown at private cinema clubs, and even then in severely mutilated form. The relaxation of the censors' shears allows you to see for yourself what the fuss was about, but be warned--Salò will test the very limits of your endurance. Updating the Marquis de Sade's phantasmagorical novel of the same title from 18th-century France to fascist Italy at the end of World War II, writer-director Pasolini relates a bloodthirsty fable about how absolute power corrupts absolutely. Four upper-class libertines gather in an elegant palazzo to inflict the extremes of sexual perversion and cruelty upon a hand-picked collection of young men and women. Meanwhile, three ageing courtesans enflame the proceedings further by spinning tales of monstrous depravity. The most upsetting aspect of the film is the way Pasolini's coldly voyeuristic camera dehumanises the victims into lumps of random flesh. Though you may feel revulsion at the grisly details, you aren't expected to care much about what happens to either master or slave. In one notorious episode, the subjugated youths are forced to eat their own excrement--a scene almost impossible to watch, even if you know the meal was actually composed of chocolate and orange marmalade. (Pasolini mischievously claimed to be satirising our modern culture of junk food.) Salò is the ultimate vision of apocalypse--and as if in confirmation, the director was himself brutally murdered just before its premiere. You can reject the movie as the work of an evil-minded pornographer, but you won't easily forget it. --Peter Matthews

Special Features
1.85 Wide Screen
DVD 5
Italian
Region 2
Film Notes
Directors Biography
English

Synopsis
Pasolini's adaptation of the Marquis de Sade's 18th-century novel transfers the action to WWII Italy, where Fascist rulers brutalise and torture a group of adolescent girls and boys. Soundly condemned at the time of its release by Italian censors, SALO proffers an unflinching look at the horrors committed by totalitarian regimes and their dehumanising abuse of power.

Customer Reviews

Descent Into The Empyrean
There are few movies out there, if any, that can generate as much ire and disgust as Pasolini's "Salò o le 120 giornate di Sodoma". Over the years, the film has created this almost mythical quality around itself, if mostly for the fact that it's still banned / badly cut in many countries around the World (Including Australia; so much for the Enlightenment). Not so for us lucky Brits - The BBFC has passed the uncut edition since the Halcyon Days of 2000, when I was lucky enough to view it on Film4 late at night. Make no mistakes, if any film has the ability to transform you into a gibbering, crying mess, it's this one.

Not for the Faint-Hearted? You'd better believe it.

And thus, it's hard to really "recommend" this film to anyone, as you wouldn't really "recommend" divorce - But it's a life experience you can gain valuable knowledge from. The film takes it's inspiration / Modus Operandi from the Marquis De Sade's notorious novel "The 120 Days of Sodom" , which, if you have read it, you will know perfectly well what you can expect from the film. Transporting the setting to Mussolini-Era Fascist Italy, four Aristocratic Libertines subject their young subjects to Sexual Manipulation and Torture, both physical and psychological. Pasolini does not shun from showing these in all their brightest colours, and considering that the great man was murdered mere months after the film's premiere, it can be surmised that it raised much anger amongst those artistically inclined. Watch at your peril, without Mother and Children preferably.

Notes on the 2-Disc BFI edition itself - The film has been released before, on Criterion and BFI in the '90s. Both were of poor quality and, thanks to Pasolini's estate revoking Criterion's rights to sell the film, made this edition the rarest / most expensive in the World; well, no longer a problem. The BFI has ported over the Criterion release mainly (Here's hoping it isn't a direct NTSC-to-PAL port, the quality will suffer), apart from one particular bonus: a 25-second sequence that has never been released before showing a reading of a Gottfried Benn poem. Nothing remarkable, but it's something.

It's been said before that for Art to be effective, it must be dangerous. "Salò" is more dangerous than Ebola.

Disturbing masterpiece
'Salo' is one of the few films I've seen that on one hand is compulsive (in a rubbernecking kinda way) and repulsive. The tone is probably the darkest I've ever seen in a film- which itself is more disturbing than the violence- which is sickening (by design) but not throwaway nihilistic like Tarantino, Arnie or 'Black Hawk Down'...Viewing is aided by the excellent '120 Days of Sodom' and the accompanying essays (some reccomended in the title sequence here). But don't worry- this film says very little- over and over again. Which is its message...Pasolini places a Dantean-triptych onto Sade's text, reducing the 120 days to 3 (which feel like forever)and setting it to the fascist backdrop of Salo during World War II. Not that this is a historical film- the comment on the allure of Fascism to Italy is one that recurs. Here Pasolini dispenses with the celebration of life offerred in films like 'Medea', 'The Decameron' & 'The Canterbury Tales'. This is like 'Porcille' magnified or the design of 'Theorum' applied to the horrors of fascism in practice...The film begins with the sole beautiful shot of a harbour-which could have come from Antonioni or Bertolucci. Then the libertines marry each others daughters, kidnap (?) the peasants who will become the ****ers (though we think they are to be the victims.), audition their victims and transplant them to the hell of an unseen machine-like world. This is where the rape and torture and ****eating begins (though Pasolini puts the latter down to a comment on fast-food consumption). There are lots of scenes of sexual depravity, prosthetic-penises and an oblique reference to Communism. Then, the Circle of Blood- which is horror in its truest sense. The black-comic punchline of the two dancing f***ers asking about each others girlfriend makes this film all the more horrifying...That said, because a film's subject is abhorrent should not mean you can dismiss this major work. I feel it is all the more pertinent when we consider such events as Pinochet's Chile, the atrocities in the Balkans and the backward-spectre of the Holocaust. This film depicts the philosophy of power in its most dominant, vile sense. It is unsuprising that this was Pasolini's final film- he would be murdered in suspicious circumstances (see 'Whoever Speaks the Truth Shall Die')and this is an assault on the world he lived in. Along with 'Accatone','The Gospel According to St Matthew', 'La Ricotta','Mamma Roma' and 'Theorum' this is one of Pasolini's major works. And one that people should watch to see the true power of cinema.

Salo - More than a "video Nasty"
(I should say first off, that I haven't yet seen the DVD/Video versions due out next month so the following is based upon viewing the movie.)

Demonised by many and made more notorious by being largely removed from public viewing for many years, "Salo" has managed to build up a reputation, depending on who is supplying the description, as a sexually perverted film, a graphically violent film, an overly fascistic film or a combination of all three and more. In truth, though it is at time, difficult to watch, it is actually a superb and effective comment upon man's capacity to degrade and cheapen the value of human life and in doing so, destroy the essence of our own humanity. Ostensibly the story of a group of Italin fascists who spend 3 months raping, torturing and degrading a group of young people within an isolated country house, and loosley based upo the writings of De Sade, amongst others, Pasolini manages to work across a wide variety of provocative, challenging and uncomfortable ideas based on what we actually do to, and think about our fellow man. Over 25 years after its' making, and having seen ethnic cleansing, paedophile rings, economic sanctions and countless unwarranted invasions, it seems more pertinent than ever to really make you think about how we treat each other and how much we really value human life.

It's NOT for the faint of heart or squeamish and it will make you feel very uncomfortable indeed...which is the whole point. It's a film for adults, and as such, should be viewed with respect...and a little caution.It will be good to see it rescued from memebers only screenings in art-houses or dodgy bootleg tapes, and I await the articles in the Daily mail with a little sadness. I am sure the BFI will take a hammering for releasing it, as will the censors. Don't be fooled: if it's gore you want, try "Cannibal Holocaust" If you want sexually graphic scenes, then "Romance" is the film for you.This film stays with you.