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Post by salomonj on Aug 2, 2021 19:40:32 GMT
Really glad we don’t have any pedophile elites here in the US!
Just saw this for the first time, always blew it off cause of its torture porn connotations and never realized it had historical context. Glad I watched this, it’s the greatest portrayal of pure evil I’ve ever seen. Pasolini really goes out his way to show how sick the Mussolini/Nazi regime were and how much it damaged those generations. And this thing has aged like a gem when contrasted with the Epstein stuff, it’s kinda scary how the portrayal of pedophilic Italian elites kidnapping children and taking them to a fantasy land for their sick pleasure rings so accurate to what’s going on here in the states. Chilling experience, especially when such horrors are contrasted with such artistic beauty in the camera work, scenery etc...
I’m curious as to what y’all thought of this one?
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Post by Feologild Oakes on Aug 2, 2021 20:33:39 GMT
I watched that movie like 15 years ago.
I thought it was a terrible movie.
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Post by lowtacks86 on Aug 2, 2021 20:47:09 GMT
I have no desire to watch this movie. And keep in mind I enjoy gory horror films.
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Post by FridayOnElmStreet on Aug 2, 2021 20:49:26 GMT
5/10 Very effective in its disturbing factor.
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Post by Prime etc. on Aug 2, 2021 20:51:26 GMT
I like chocolate too much to tarnish my enjoyment by watching it.
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Post by vegalyra on Aug 3, 2021 0:26:23 GMT
To each his/her own, but just from reading about the film I think I'll steer clear. I don't usually say that about classic Italian film, but I'm good without seeing it. I am fully aware of the atrocities the Germans and Italians were capable of during the war.
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Post by mecano04 on Aug 3, 2021 1:35:37 GMT
I'd go along with what FridayOnElmStreet said about the effectiveness at being disturbing. Having seen it recently also, I would say it was more troubling than a Serbian Film because while it was disgusting, it didn't try to be over the top disgusting/insane to a point where it almost became ridicule, which is something that kinda offset partially the Serbian movie impact for me. Still, I wouldn't recommend watching either. |
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Post by Dramatic Look Gopher on Aug 3, 2021 2:26:15 GMT
Didn't hate it, but didn't really like it either. Thought it was quite repellent. The kind of movie I may watch once for curiosity sake and then never see again. And honestly, I thought Pasolini made this just to get his rocks off.
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Post by darkreviewer2013 on Aug 3, 2021 8:12:57 GMT
Despite being a horror fan and history buff, I honestly have no interest in seeing this film.
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Post by jeffersoncody on Aug 3, 2021 11:28:37 GMT
It a a pungent, shocking, brave film that incorporates many powerful themes; corruption, morality, authoritarianism, fascism, sex, sadism and more, into its narrative - which has a literary (the Marquis de Sade's The 120 Days of Sodom and Dante's The Divine Comedy *) and socio-historical background, and to let oneself be outraged by the simulated scenes of teenagers being sexually abused and tortured and murdered - it the in no way erotic, is to let oneself be distracted from what the movie is saying. I'm glad Pasolini had the courage, the determination and the cheek to make it and get it released. It' has earned its place in film history. That said, I am unlikely to ever watch SALO ever again.
* Nietzsche's work, not surprisingly, is frequently referenced.
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Post by Vits on Aug 3, 2021 16:36:57 GMT
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Post by sjg on Aug 3, 2021 18:07:06 GMT
I was curious to see it because of it's reputation, i watched it and i'm now no longer curious
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Post by petrolino on Aug 6, 2021 21:50:52 GMT
I wasn't born when this movie was made but Italian cinema was about to change forever with its release. It wasn't made in a vacuum, there was a ton of controversial movies made in the 1970s, some better remembered than others, but Pier Paolo Pasolini's murder ensured 'Salo' an even greater level of notoriety.
Quentin Tarantino's mentioned this movie in several interviews I've read this year. Perhaps he took interest in Ennio Morricone's unsual working relationship with Pasolini, which didn't always involve composing traditional scores. It's also shot by Pasolini's regular cameraman Tonino Delli Colli whose work with Sergio Leone was a tremendous influence on Tarantino.
"He was a quite extraordinary person in his manner of working. My first meeting with Pasolini happened through a mutual friend, his director of production, Enzo Ocone. He called me in for Uccellacci e uccellini (The Hawks and the Sparrows), and Pasolini arrived with a list of music that he wanted me to use, such as Mozart. I said to Pasolini, “Look, I think you’ve made a mistake in calling me”, because I wasn’t one who applied, re-did or re-worked music — I wrote it. So he said to me, “Okay, you are right, go ahead and do what you think.” He let me do what I wanted and the only piece I had to re-do was a reference to a piece from “The Magic Flute” for one instrument, I can’t remember which. He was very happy with what I did and with the scores for Canterbury Tales, Arabian Nights and the Decameron.
I did very little of the music for Salo; Pasolini wanted music of the period and so I helped out. But it is not as if I wrote the music; it was more like a technical consultation. The only piece of mine, which is five or six minutes long, is the music of the pianist who attends all these terrible situations and then eventually throws herself out the window. It is, shall we say, dodecaphonic.
I also re-worked old music for Canterbury. There is virtually nothing of mine in Canterbury."
- Ennio Morricone speaking with Sue Adler, Scraps From The Loft
"On The Empire Film Podcast episode ‘A Celebration of Cinema: Edgar Wright & Quentin Tarantino In Conversation’, Tarantino regales the listener with a story that, to me, perfectly illustrates why I love cinema. During a screening of Pier Paolo Pasolini’s Salò, or the 120 Days of Sodom that was attended by Tarantino himself, a woman jumped up from her seat near the end of the movie and screamed “Pasolini was beaten to death on the streets of Rome and I say good riddance!”
Whilst this example may seem extreme, it conveys one thing: passion. Although it takes passion to love cinema as a whole, every single film itself evokes passion from each of us as an audience in one way or another – whether that passionate response is giving a film a good rating on Letterboxd or declaring that the brutal murder of a filmmaker is a good thing is completely dependent on the picture." As for my love of cinema… it began as a child. Although it has unfairly become somewhat of a cliché to claim that one has loved films their entire life – or to paraphrase Henry Hill: “As far back as I can remember, I always wanted to be a filmmaker” – it is most definitely the case for me."
- Mark Carnochan, The Film Magazine
Tonino Delli Colli, Treat Williams, Sergio Leone & James Woods
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Post by moviemouth on Aug 6, 2021 22:05:24 GMT
I think this is a rare case of a movie that sounds too disturbing for me to want to watch.
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Post by onethreetwo on Aug 6, 2021 22:34:58 GMT
I'm glad you mentioned how beautifully the movie is shot because that's absolutely true. It's a really weird juxtaposition.
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Post by jamesbamesy on Aug 7, 2021 0:03:03 GMT
I got everything from Spooky Rice's Disturbing Breakdown of this movie. I think I'm good.
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Post by mgmarshall on Aug 7, 2021 4:14:49 GMT
It's one of the most thoroughly unpleasant, unenjoyable things I've ever sat through which, I suppose, was its aim.
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Post by Fox in the Snow on Aug 7, 2021 9:05:45 GMT
Pasolini is a major world cinema blindspot for me, which I hope to rectify soon. Whether I'll get to Salo, I don't know (certain aspects of it are really offputing, but I'm interested in if from a stylistic viewpoint).
I recently saw Ferrara's Pasolini which documents the last few days of his life and quite liked that.
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