Salò or the 120 Days of Sodom, one of the most shocking films in the history of cinema, is released in theaters on June 1. If you have a strong heart, you absolutely have to see this masterpiece by Pier Paolo Pasolini.
Pier Paolo Pasolini is undoubtedly one of the most important Italian directors in the history of cinema. Died in controversial circumstances in 1975, he was unable to attend the theatrical release of his last film, Salò or the 120 Days of Sodom (In France, it landed in theaters in May 1976).
This feature film, which comes out in theaters on June 1, is a free adaptation, transposed to the 20th century, of the great work of the Marquis de Sade (1740-1814), The Hundred and Twenty Days of Sodom. The action of the book took place at the end of the reign of Louis XIV (died in 1715).
Pasolini takes us to the time of the fascist republic of Salò. In a large Italian castle, those in power are hounding a group of young people who are subjected to a series of increasingly humiliating abuses.
Salò is a city that really exists, located in northern Italy. The fascist government of Mussolini had designated it as the capital in 1943 until the fall of their power in 1945. Sad anecdote: the brother of Pier Paolo Pasolini was assassinated in this city.
THE MOST SCANDALOUS FILM IN HISTORY?
Upon its release in the mid-1970s, Salò created a resounding scandal due to its controversial scenes of humiliation, sexual violence and scatology. A dark and pessimistic work, the feature film was banned and censored in many countries.
Before passing the weapon on the left, Pasolini delivered a real bomb, creating without doubt one of the most striking cinematographic controversies of the century. In Italy, the work has been banned for those under 18. With us, the ban will apply to those under 16 years old.
In reference to Dante’s Inferno, the filmmaker chooses to baptize each part of his film as follows: “The circle of passions”, “The circle of shit” and “The circle of blood”. A radical pamphlet against fascism, Salò goes deeper and deeper into trashy horror as it goes, leaving the viewer absolutely stunned in their seat.
For some critics of the time, this denunciation of fascism gave “a degrading, unbearable film that every viewer will feel smeared about, regardless of the obvious talent of the filmmaker”.
It is true that Pasolini spares us nothing in this work. He does not hesitate to film close-ups of sexual abuse or young people forced to eat excrement.
The director sets up a device that puts us in the place of those powerful people who delight in these tortures. Thus, during an unbearable sequence, the organizers of these demonic orgies scrutinize with binoculars horrible tortures and killings.
TORTURE AND DECADENCE
Pasolini forces us to stay with them to contemplate this morbid spectacle. He puts us in the shoes of these torturers, which is extremely disturbing and disturbing, questioning us about our own humanity. It also questions power and its exercise when it becomes totally arbitrary.
To get to the end of this trying film, you really have to have a strong heart and strong nerves. However, on the set, the atmosphere was rather joyful, as evidenced by the actress Hélène Surgère, who camped Signora Vaccari.
“The shooting was rather happy and good-natured; the main problem was to prevent the very young actors from laughing, especially during the banquet of the shit”said the actress.
PASOLINI THREATENED WITH DEATH FOR HIS POLITICAL POSITIONS
However, the director being a controversial character, the threats are numerous and the filming must take place under police protection.
“Pasolini was very worried about the rise of a new fascism. During the filming, we witnessed disturbing demonstrations. He was concerned about the violence that is in each of us, he thought that those who want to use him always find favorable ground”continued Hélène Surgère.
After the release of the film, the actress wondered if the director had not gone too far.
“I have always agreed with the project. Pasolini told me that cinema should be used as a political weapon. I have seen Salo several times and my opinion has changed depending on the era. Today , I think he is more in tune with our times. People perceive better what he is saying about the consumer society”concluded the artist, who unfortunately died in 2011.
“I think scandalizing is a right. To be scandalized is a pleasure and the refusal to be scandalized is a moralistic attitude”scandalized Pasolini in the 1970s. In these troubled times, he would be happy if his feature film was released in cinemas and could be seen and studied by younger generations without any censorship.
The mixed reception of the film in France by the journalist François Chalais in 1976