New York Times - 10/11/1977
"...[Pasolini's] most significant film....[Represents] the bitter, empty end."
Sight and Sound - 11/01/2008
"Pasolini's last film remains profoundly disturbing, its ideas about the commodification of bodies...and the absolute corruption of power resonating far further than its setting..."
Total Film - 12/01/2008 4 stars out of 5 -- "[B]eneath the glacial cinematography and ornate tableaux writhes a terrifying warning about fascism, consumerism, violence and voyeurism..."
Empire - 11/01/2008 3 stars out of 5 -- "A disturbing, necessary film, this makes a fascinating contrast with the current 'torture porn' cycle..."
Pier Paolo Pasolini was a celebrated poet, writer, and all-around intellectual, but it was his maverick, controversial filmmaking that distinguished him as an influential artistic force. The director's last film, 120 DAYS OF SODOM, an adaptation of the Marquis de Sade's 18th century novel, remains his most notorious (and most censored) due to its scenes of graphic rape and torture of adolescents. Pasolini relocates the novel's horrific abuses from France to the final days of Mussolini's reign, effectively rendering a grim portrait of the degradation of the human body and spirit beneath Fascist and Nazi rule.
Description by Image Entertainment:
Pier Paolo Pasolini's notorious final film, Salò, or the 120 Days of Sodom, has been called nauseating, shocking, depraved, pornographic . . . it's also a masterpiece. The controversial poet, novelist, and filmmaker's transposition of the Marquis de Sade's 18th-century opus of torture and degradation to 1944 Fascist Italy remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.
Theatrical Release |
World War II