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Salò or the 120 Days of Sodom [DVD + Blu-ray] [1975]

3.2 out of 5 stars 122 customer reviews

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Product details

  • Directors: Pier Paolo Pasolini
  • Format: PAL, Dolby, Colour
  • Language: Italian
  • Subtitles: English
  • Region: Region B/2 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 16:9 - 1.85:1
  • Number of discs: 3
  • Classification: 18
  • Studio: BFI Video
  • DVD Release Date: 23 May 2011
  • Run Time: 117 minutes
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (122 customer reviews)
  • ASIN: B004ZQJ3MG
  • Amazon Bestsellers Rank: 5,497 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Product Description

Product Description

SALO
A Film by Pier Paolo Pasolini

Banned, censored and reviled the world over since its release, Pasolini's final and most controversial masterpiece is presented here fully uncut and uncensored in a brand new restoration. The content and imagery of Salo is extreme: it retains the power to shock, repel and distress. But it remains a cinematic milestone: culturally significant, politically vital, visually stunning.

Based on a novel by the Marquis de Sade - and taking as it setting the miniature fascist republic which Mussolini established in 1944 in Italy - this is a film about power, corruption, and the degradation of the human body. It is a devastating, angry cry from one of the most controversial auteurs in cinema history

Special features

  • Presented in both High Definition and Standard Definition
  • Includes both Italian-language and English-language versions
  • 'Ostia-The Death of Pasolini' by Coil - the band's 1986 track with a new video accompaniment
  • Original Italian trailer
  • Open Your Eyes! (2008, 21 mins), Pasolini and his actors at work on the set of Salo
  • Walking with Pasolini(2008, 21 mins): documentary featuing Neil Bartlett, David Forgacs, Noam Chomsky and Craig Lapper (DVD only)
  • Whoever Says the Truth Shall Die (1981, 58 mins) the classic documentary on the life and death of Pasolini
  • Fade to Black (2001, 24 mins): documentary exploring the ongoing relevance and power of Pasolini's masterpiece
  • Ostia(1987, 26 mins): a short film about Pasolini starring Derek Jarmen with optional director's commentary
  • 32-page booklet with introduction by Sam Rohdie, reviews, BBFC correspondence exploring the film's troubled history, stills and on-set photographs

Italy, France | 1975 | colour | Italian language, with optional English subtitles | 117 minutes | Original aspect ratio 1.85:1

Disc 1: BD25 | 1080p | 24fps | PCM mono audio (48k/24-bit)
Disc 2 and Disc 3: DVD9 | PAL | PCM mono audio (48k/24-bit) + Dolby Digital mono audio (320kbps)

Region 2 PAL DVD
Region B Blu-ray

From Amazon.co.uk

Pier Paolo Pasolini's Salò or the 120 Days of Sodom (known in Italian as Salò o le 120 giornate di Sodoma) provoked howls of outrage and execration on its original release in 1975, and the controversy rages to this day. Until the British Board of Film Classification finally ventured a certificate in 2000, the movie could only be shown at private cinema clubs, and even then in severely mutilated form. The relaxation of the censors' shears allows you to see for yourself what the fuss was about, but be warned--Salò will test the very limits of your endurance. Updating the Marquis de Sade's phantasmagorical novel of the same title from 18th-century France to fascist Italy at the end of World War II, writer-director Pasolini relates a bloodthirsty fable about how absolute power corrupts absolutely. Four upper-class libertines gather in an elegant palazzo to inflict the extremes of sexual perversion and cruelty upon a hand-picked collection of young men and women. Meanwhile, three ageing courtesans enflame the proceedings further by spinning tales of monstrous depravity. The most upsetting aspect of the film is the way Pasolini's coldly voyeuristic camera dehumanises the victims into lumps of random flesh. Though you may feel revulsion at the grisly details, you aren't expected to care much about what happens to either master or slave. In one notorious episode, the subjugated youths are forced to eat their own excrement--a scene almost impossible to watch, even if you know the meal was actually composed of chocolate and orange marmalade. (Pasolini mischievously claimed to be satirising our modern culture of junk food.) Salò is the ultimate vision of apocalypse--and as if in confirmation, the director was himself brutally murdered just before its premiere. You can reject the movie as the work of an evil-minded pornographer, but you won't easily forget it. --Peter Matthews --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Top Customer Reviews

Format: DVD
There are few movies out there, if any, that can generate as much ire and disgust as Pasolini's "Salò o le 120 giornate di Sodoma". Over the years, the film has created this almost mythical quality around itself, if mostly for the fact that it's still banned / badly cut in many countries around the World (Including Australia; so much for the Enlightenment). Not so for us lucky Brits - The BBFC has passed the uncut edition since the Halcyon Days of 2000, when I was lucky enough to view it on Film4 late at night. Make no mistakes, if any film has the ability to transform you into a gibbering, crying mess, it's this one.

Not for the Faint-Hearted? You'd better believe it.

And thus, it's hard to really "recommend" this film to anyone, as you wouldn't really "recommend" divorce - But it's a life experience you can gain valuable knowledge from. The film takes it's inspiration / Modus Operandi from the Marquis De Sade's notorious novel "The 120 Days of Sodom" , which, if you have read it, you will know perfectly well what you can expect from the film. Transporting the setting to Mussolini-Era Fascist Italy, four Aristocratic Libertines subject their young subjects to Sexual Manipulation and Torture, both physical and psychological. Pasolini does not shun from showing these in all their brightest colours, and considering that the great man was murdered mere months after the film's premiere, it can be surmised that it raised much anger amongst those artistically inclined. Watch at your peril, without Mother and Children preferably.

Notes on the 2-Disc BFI edition itself - The film has been released before, on Criterion and BFI in the '90s.
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Format: DVD
This is a version of the Marquis de Sade's story, The 120 Days of Sodom, a story about four powerful men who enslave two dozen teenagers and torture them repeatedly. Unlike the book the film is set in the Salò Republic, the Nazi puppet state in northern Italy, in the year 1944. Pier Paolo Pasolini directs his final film. The four powerful men in the story are referred to as the Duke, the Magistrate, the President and the Bishop. To kick things off they marry each other's daughters and then begin to have young males and females kidnapped (18 in all, 9 of each gender). They also have four older prostitutes join in and this whole multitude marches over to some palace. Mind you, the time period means that the Nazi occupied Salò Republic is on its last legs and on the cusp of being crippled by the Allied forces. So the setting gives us sort of an end of days feeling right from the get-go. The content and commentary certainly continue with that subject matter throughout.

The film is set up in four stages, the first being the ante-inferno, which refers to those who are not quite condemned to hell but also not allowed into heaven either. The film's setting is meant to feel like a brief moment in purgatory with its isolated party of characters doing unspeakable things before judgment, and then it all must end. The second stage is the circle of manias, or obsession, where we see the sexual humiliation of the film manifest itself further. The third stage is the circle of excrement, which is where we see the characters consume feces. Pasolini has used this as a metaphor broadly for the perverse level of consumption depicted in the film overall, and directly as a commentary on mass-produced foods and consumerism.
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Format: DVD
In this film Pasolini gives us an exploration of the nature of fascism via a story of a group of youths captured and imprisoned in a villa in the fascist republic of Salo in Italy in 1944.These youths are then subjected to an orgy of sexual degradation and humiliation - including being made to eat their own faeces -before some of them are finally tortured and executed in the most barbaric manner,which we view from a distance as the fascist guards discuss trivia while dancing and watching the horrendous scene.Not only does this film see Pasolini use de Sade's novel as an allegory for fascism,but he himself was moved to make this film by the wave of reaction sweeping Italy in the 1970s,which was not to be seen again until the vicious repression we saw in Genoa in 2002.This film is not to be viewed as entertainment.It is true art, and as such is challenging in the extreme.I saw this film at the ICA as part of the discussion on the relaxation of Britain's antiquated censorship regime.I recall walking home from the viewing feeling genuinely disturbed and soiled,which is exactly what a portrait of the fascist mind should do.As one of the protagonists says: 'we fascists are the true anarchists',and in Salo we see a protrait of a world with no values and no humanity.
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By A Customer on 28 Feb. 2002
Format: VHS Tape
'Salo' is one of the few films I've seen that on one hand is compulsive (in a rubbernecking kinda way) and repulsive. The tone is probably the darkest I've ever seen in a film- which itself is more disturbing than the violence- which is sickening (by design) but not throwaway nihilistic like Tarantino, Arnie or 'Black Hawk Down'...Viewing is aided by the excellent '120 Days of Sodom' and the accompanying essays (some reccomended in the title sequence here). But don't worry- this film says very little- over and over again. Which is its message...Pasolini places a Dantean-triptych onto Sade's text, reducing the 120 days to 3 (which feel like forever)and setting it to the fascist backdrop of Salo during World War II. Not that this is a historical film- the comment on the allure of Fascism to Italy is one that recurs. Here Pasolini dispenses with the celebration of life offerred in films like 'Medea', 'The Decameron' & 'The Canterbury Tales'. This is like 'Porcille' magnified or the design of 'Theorum' applied to the horrors of fascism in practice...The film begins with the sole beautiful shot of a harbour-which could have come from Antonioni or Bertolucci. Then the libertines marry each others daughters, kidnap (?) the peasants who will become the ****ers (though we think they are to be the victims.), audition their victims and transplant them to the hell of an unseen machine-like world. This is where the rape and torture and ****eating begins (though Pasolini puts the latter down to a comment on fast-food consumption). There are lots of scenes of sexual depravity, prosthetic-penises and an oblique reference to Communism. Then, the Circle of Blood- which is horror in its truest sense.Read more ›
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