Free Friday: Salò o le 120 giornate di Sodoma [Salò oder die 120 Tage von Sodom] I/F 1975, D: Pier Paolo Pasolini, mit Paolo Bonacelli Hélène Surgère, Elsa de Giorgi, 113 Min, OmeU, Eintritt frei – Admission free!
Pasolinis letzter Film, der erst postum uraufgeführt wurde, nimmt sich der literarischen Vorlage des Marquis de Sade an und versetzt sie in die Republik von Salò unter der letzten faschistischen Regierung Italiens kurz vor Kriegsende.
Darin thematisiert Pasolini die unheilige Allianz von Sexualität und Faschismus mit der Absicht, ein Werk zu schaffen, das sich der kapitalistischen Logik des Marktes entzieht.
ENG: (Original Italian, Here: translated from lavoroculturale.org Here)
Salò or the 120 days of Sodom may have little to do with madness, but certainly a great deal to do with the disciplinary strategies and techniques of subjugation within a detention space: there seems to be no more fitting introduction to a project that intends to tackle the theoretical knots linked to the control of bodies and individual behaviour by questioning the past in order to analyse the present.
Four men, four female narrators (one of whom is a pianist), nine boys and nine girls (soon to become eight and eight), four collaborationists, four young soldiers, five orderlies: these are the protagonists of Salò or the 120 days of Sodom, set essentially inside an isolated villa near Marzabotto.
Theme: the exercise of power over men by other men. Simple and linear - ‘as exact as crystal’, Pasolini would say when he was almost finished working on the film - the film depicts the days of the Social Republic described as a decadent empire dedicated to the cultivation of the most vile excesses.
Loosely inspired by The 120 Days of Sodom by the Marquis de Sade, Salò represents an object of complex collocation within the canons of film history, both for its ‘extremist’ character, whose necessity was theorised in those years by Pasolini himself, and for its biographical event, a sort of testamentary legacy of the director from Casarsa, who was killed a few days before the Paris premiere in November 1975.
Trailer italiano:
Trailer:
ENG: (translated from lavoroculturale.org)
Salò or the 120 days of Sodom may have little to do with madness, but certainly a great deal to do with the disciplinary strategies and techniques of subjugation within a detention space: there seems to be no more fitting introduction to a project that intends to tackle the theoretical knots linked to the control of bodies and individual behaviour by questioning the past in order to analyse the present.
Four men, four female narrators (one of whom is a pianist), nine boys and nine girls (soon to become eight and eight), four collaborationists, four young soldiers, five orderlies: these are the protagonists of Salò or the 120 days of Sodom, set essentially inside an isolated villa near Marzabotto.
Theme: the exercise of power over men by other men. Simple and linear - ‘as exact as crystal’, Pasolini would say when he was almost finished working on the film - the film depicts the days of the Social Republic described as a decadent empire dedicated to the cultivation of the most vile excesses.
Loosely inspired by The 120 Days of Sodom by the Marquis de Sade, Salò represents an object of complex collocation within the canons of film history, both for its ‘extremist’ character, whose necessity was theorised in those years by Pasolini himself, and for its biographical event, a sort of testamentary legacy of the director from Casarsa, who was killed a few days before the Paris premiere in November 1975.
ITA (tratto da lavoroculturale.org)
Salò o le 120 giornate di Sodoma ha forse poco a che fare con la follia, sicuramente molto, invece, con le strategie disciplinari e le tecniche di assoggettamento all’interno di uno spazio di detenzione: non pare esserci introduzione più calzante a un progetto che intende affrontare i nodi teorici legati al controllo dei corpi e dei comportamenti individuali interrogando il passato per analizzare il presente.
Quattro uomini, quattro narratrici (di cui una pianista), nove ragazzi e nove ragazze (che presto diventeranno otto e otto), quattro collaborazionisti, quattro giovani soldati, cinque inservienti: sono queste le figure protagoniste di Salò o le 120 giornate di Sodoma, ambientato essenzialmente all’interno di una villa isolata nei dintorni di Marzabotto.
Tema: l’esercizio del potere sugli uomini da parte di altri uomini. Semplice e lineare – «esatto come un cristallo», dirà Pasolini a lavorazione quasi ultimata – il film mette in scena i giorni della Repubblica sociale descritta come un impero decadente dedito alla coltivazione degli eccessi più turpi.
Liberamente ispirato a Le 120 giornate di Sodoma del Marchese de Sade, Salò rappresenta un oggetto di complessa collocazione dentro i canoni della storia del cinema, sia per il suo carattere «estremistico», la cui necessità era teorizzata in quegli anni dallo stesso Pasolini, che per la vicenda biografica, sorta di lascito testamentario del regista di Casarsa, ucciso pochi giorni prima dell’anteprima parigina del novembre del 1975.