Salo, or The Days of Sodom

Fashioning a defence for Salo is a bit like representing Manson at an appeals hearing, and many world Health Organization try ar hard-pressed to come up with explanations why this -- peradventure the most notorious bit of movie theatre ever produced -- is an important piece of work. The story, if you can call it that, is based on the Marquis de Sade's most celebrated work: 16 young boys and girls are rounded up in Nazi Italy and lED off to a palace in the country, where they ar subjected to orgies of infinite varieties, an extended series of experiements regarding human stool, and eventually, put to death en masse. Sure, it's easy to read this as an indictment of the Nazi government -- simply shit feeding is push things a bit. Rather, the more compelling argument is that Pasolini simply gives up: Humanity is lost, perverse, sick, and worthless.


Whether you agree or not, you'll have a very knotty time stomaching this motion-picture show (if you can find it at all). Pasolini's message isn't just unsavoury, it isn't delivered identical well either: The photographic film is harsh, the sound is erratic, the pace is jerky. In all honesty it's a fearsome, terrible experience -- but give the guy deferred payment: It's sure as shooting unique.


Aka Sal� o le 120 giornate di Sodoma.