Die 120 Tage von Sodom (1975)

Die 120 Tage von Sodom: Directed by Pier Paolo Pasolini. With Paolo Bonacelli, Giorgio Cataldi, Uberto Paolo Quintavalle, Aldo Valletti. In World War II Italy, four fascist libertines round up nine adolescent boys and girls and subject them to 120 days of physical, mental, and sexual torture.

“u0026quot;Salo: The 120 Days of Sodomu0026quot; (1975): Be prepared for one of the roughest films youu0026#39;ll ever see. This was Pasoliniu0026#39;s last, and going by what Iu0026#39;ve seen, his vision only became bleaker and more disturbed as the years clawed along. Using the Marquis de Sadeu0026#39;s ideas on the decadence of 18th century France, Pasolini represents Fascist Italy (1944-45). We are shown the upper class – always removed and protected from the outer world – as predators of the poor, weak, young, and less educated. A group of wealthy adults shop amongst the kidnapped older children of bourgeoisie. They choose eighteen, and steal them away to a hidden mansion, where there is no escape. There, the adults live out every twisted fantasy theyu0026#39;ve ever had or can now muster, while demeaning, raping, and torturing the youngsters. The teens react in many ways, none of which are u0026quot;prettyu0026quot;. This entire film experience MUST be viewed as a symbolic, emotional u0026quot;explanationu0026quot; of what it was like to live under Nazi/Fascist rule (in this case), and how an otherwise normal, decent society could be turned into lunatics and sub-animals. Although made 30 years ago (with the usual weaker production qualities of that era), I cannot think of another work which so blatantly and painfully illustrates what those in power are capable of doing when boredom gives rein to impulse. In comparison, u0026quot;Lord of the Fliesu0026quot; barely lights upon these issues, u0026quot;Pink Flamingosu0026quot; was but a tiny, kitschy springboard, and u0026quot;Schindleru0026#39;s Listu0026quot; described a much narrower range of degradation. To this day, u0026quot;Salo: …u0026quot; is banned in some countries. This is NOT a film about acting, lighting, sound, camera work, etc.. This is a film about states of mind – theirs then, ours now. P.S.: If you are interested in set design, this one is FILLED with original Cubist/Bauhaus/Futurist/Moderne furnishings, murals, and art. Spectacular. Those styles were not yet being reproduced, so Pasolini used the real thing. There is also an interesting use of a Charles Rennie MacIntosh chair…which will alter how you see this design from here on out.”