1.5/5 - Honestly, the sharpness of Salò's blade has long been dulled. It's a supreme showcase of transgressive cinema formally speaking, but it's text is so overtly exposed to the viewer, to the point where the images rarely do speak for themselves, incidentally making it also peak way too early, which in turn deflates from what follows any sense of macabre wonder that could still have remained..
Lectura en clave post-estructuralista de la perversión de Sade. Hay una circulación dialéctica entre Pasolini, Barthes y Adorno. Esto excede al fascismo. No es sólo una alegoría de ese totalitarismo. Desborda a la modernidad. El reglamento va y vuelve entre Sade y Kant. Lo dice el monseñor, "los máximos anarquistas somos los fascistas". El núcleo de Pasolini: todo es política. El poder como perversión. Beherrschung.
One of the most overrated and worst movies of all time. Pasolini's movie continues to gain critical acclaim because of its supposed critique of capitalism and fascism but it's nothing more than a disgusting exploitation flick filled with excrement eating, sexual abuse, and repugnant torture.
There are some gorgeous frames and the piano music was very accurate, as well as the visual effects at the end. The people who have access to guns and rifles, are the ones that rule and impose their filthy and unhuman desires. Do that behavior and actions belong exclusevely to fascism?
Look guys there are films that talk about depravity and the abuse of power by sick men without having to graphically show me a woman eating human shit. You are better off reading the discussions this film has raised than watch the actual film. They have far more intellectual merit. I find it funny that people will call a film like this art and scoff at films like Pink Flamingos, which has arguably more to say.
55/100 (Önceleri verdiğim 90 ve üstü puan için utanıyorum. Sadece mesajına ve atmosferine kapılıp gitmişim. Ancak mantık ve teknik aksaklıklara gözümü yummuşum. Pasolini'ye de bakışımı değiştirdi artık bu film. Uzun uzadıya bunun mantıklı gerekçelerini yazmak istiyorum. Devamı yorum..)
A prescient synthesis that speaks of a wicked control system that doesn’t disappear. Perhaps now we’re in a more advanced manifestation of the totalitarian consumerism indicted and, if not soothsayer, Pasolini knew it’s ceaseless march could only metaphorically continue this way. Salo reveals a horrid truth about the collusion of power and the commodification of those subject to the regime: in other words most of us.
Watched it as part of Michael Haneke's Carte Blanche at the Filmmuseum Frankfurt. Brings you to the border of cinematic experience, but I didn't feel really shocked afterwards. After all I sense too much of Pasolini's excitement for the sexual parts and it becomes repetitive and boring.
Difficult film to rate. Is it beautifully made — yes. Does it draw you in like a magnet, and forces you to be a willing, if not even an encouraging, spectator to acts of mindless violence — yes. Does it make you question humanity in a novel way — not sure. I understand the allusion to fascism, especially the betrayals and nonchalant waltz at the end, but I just feel this film has more bravery than depth.
The ultimate depraved movie? It tells about the evil actions people do when they come into power and can treat people like animals forcing teenagers into perverted sex and sick fantasies. The closest a film gaze into the evil of man's soul. If you finish the film you should congratulate yourself for surviving it together with your "masters" and "executioners" but don't expect to feel happy with life afterwards.