‘Saro, or the 120 Days of Sodom’ isn’t just shocking horror

Pier Paolo Pasolini Fascist Fables Recombined Marquis de Sade’s An extremely avant-garde text and a horrific transposition to Nazi-occupied Italy in 1944.Few movies have sparked such controversy Salo, or the 120 Days of Sodom over the years. The premise of the story is the “Liquids,” a group of tyrants who round up a group of teenagers and force them to engage in nauseating depravity and depraved behavior. Saro With so often veering into lowbrow territory, it’s easy to overlook that Pasolini’s primary reason for making the film was politically motivated. He wanted to express his distaste for the modern world and how corporate takeovers and mass marketing lead to the disappearance of culture.The story is hard to watch, but it does serve as a meditation on cruelty and power, and is a horror movie that would offend even the likes of Ruggiero Deodato (cannibal massacre).

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There’s a lot of sex, torture, and depravity in this movie. Young men and women are rounded up and subjected to unimaginable cruelty: eye gouging, rape, murder and dung-eating. Stylistically, Salou is so Lots of stuff: art, political terror, and exploitation. Or in short: a war movie told through the lens of bloody Euroschlock.

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What is “The 120 Days of Sodom” about?

Salo or the 120 days of Sodom

It’s 1944-1945 in a quiet, calm, beautiful place in Italy called Salo. It was under Nazi occupation and Salo was the center of power. A group of sadists who call themselves “Liquids,” quoting Nietzsche, are hatching a dire plan. Chairman (Aldo Valetti), Duke (Paolo Bonacelli),bishop(George Cataldi) and magistrates (Umberto P Quintavalle) rounded up teenage boys and girls and forced them to submit to the 120 Days of Sodom.Originally planned as the first part of Pier Paolo Pasolini’s death trilogy, Saro Divided into a three-act structure: “The Circle of Obsession”, “The Circle of Feces” and “The Circle of Blood”. For a libertine, nothing is more contagious than evil, and fascism is the ultimate anarchy. Each circle/story is presented by an elderly sex worker, telling a taboo-breaking story of her sexual experiences, interlaced with scenes of extreme sexual psychosis and sadism. The line between moral fiber and pure brutality collapses, and teenage bodies exist only to satisfy the pathological machinery of authoritarianism.

Avant-garde extremism prevailed, and quotes from the Marquis de Sade were quoted verbatim. The pompous evil of the libertines knows no bounds. The victims are an unnamed group against whom the fear is like how we have been collectively depersonalized by war, robbed of identity, security and autonomy by conglomerates, commerce, pornography and other hegemonic structures that promote fascist ideas. The victims accepted their horrific fate and did nothing to end their suffering.various scenes in Saro Stands for mass market control and the commercialization of food, sex, and the body.

Why is “Saro, or the 120 Days of Sodom” so controversial?

Pier Paolo Pasolini on the set of Salo or 120 Days of Sodom
Image via United Artists

Saro It is controversial for several reasons: Salo’s Freeing Pier Paolo Pasolini murdered and Saro It was eventually banned in many countries. The director was beaten, run over by a car, and his testicles were crushed and set on fire. A young crook was arrested and confessed to killing, but later retracted his confession. Considered a Marxist, radical thinker and atheist, Pasolini has been criticized in both right-wing and left-wing politics for his outspoken and somewhat ambivalent personality.what makes Saro Even more disturbing, however, given the film’s graphic content, are Pasolini’s past tendencies and early criminal predilection for underage boys.It makes one wonder if Pasolini had another, more ulterior motive Saro. The barrage of horror and dehumanization in the film is certainly a trigger, and viewers with sensitive sensitivities should definitely avoid watching.

The most controversial part is the horror Saro It’s happening to teens, and maybe that’s probably the main reason it’s still so reviled to this day. Censorship is insidious, and there are many reasons for suppressing art.But surprisingly, the British Board of Film Classification James Feynman defend Salo’s Artistic merit and validity as an important work of art while acknowledging the poignant parts. “It’s one of the most disgusting films the board has ever seen, but with a very serious purpose,” Feynman is quoted in the BBFC’s case study. “It wants us to be appalled by the atrocities that humanity commits when absolute power is exercised corruptly.”

Is Pier Paolo Pasolini’s Salo or the 120 Days of Sodom Art?

Salo 0

Pasolini laid the groundwork for works such as Gaspar Noye, Virginie Despentes, Wes Craven, Michael Haneke and john waters — all artists and writers who push the envelope and often shock. If viewers can look past the hardcore elements and shocking imagery, this film has real value and merit.Pasolini was a noted writer, activist and filmmaker who made 13 feature-length films and Federico Fellini. The director attempts to address the soft-core pornography that emerged in the early ’70s, as well as his own frustrations with the new countercultural emancipation and modern politics. Pasolini, also a World War II survivor, was traumatized by the death of his brother and sought to expel painful memories through art.and Saro, who conducts his own investigation into power, examining how these structures captive and control populations, and ultimately shatter or destroy them when you disobey or question them. Many readings of the film point to the victim’s apathy as a reflection of the community/individual under fascism – character development in most teens is willfully weak. Saro Viewers may turn off, but there’s no denying that it’s a beautiful and well-made film, with lavish production values, costumes, funny performances, dark humor and sharp dialogue. Saro It’s the art first, the video second, which makes it more than just a rocking movie.

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