Salò, or The 120 Days of Sodom Salò, or The 120 Days of Sodom

Salò, or The 120 Days of Sodom

Pier Paolo Pasolini

 
Salò, or The 120 Days of Sodom (Criterion Blu-Ray)

Blu-Ray

1 Disc

SRP: $39.95

Criterion Store price:$31.96

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  • Italy
  • 1976
  • 116 minutes
  • Color
  • 1.85:1
  • Italian
  •  
  • Spine #17

The notorious final film from Pier Paolo Pasolini, Salò, or The 120 Days of Sodom has been called nauseating, shocking, depraved, pornographic . . . It’s also a masterpiece. The controversial poet, novelist, and filmmaker’s transposition of the Marquis de Sade’s eighteenth-century opus of torture and degradation to Fascist Italy in 1944 remains one of the most passionately debated films of all time, a thought-provoking inquiry into the political, social, and sexual dynamics that define the world we live in.

Cast

Credits

DirectorPier Paolo Pasolini
WriterPier Paolo Pasolini
With collaboration fromSergio Citti
ProducerAlberto Grimaldi
Musical coordinatorEnnio Morricone
Director of photographyTonino Delli Colli
EditorNino Baragli
Production designDante Ferretti
Costume designDanilo Donati

Disc Features

  • New, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition
  • “Salò”: Yesterday and Today, a thirty-three-minute documentary featuring interviews with director Pier Paolo Pasolini, actor-filmmaker Jean-Claude Biette, and Pasolini friend Nineto Davoli
  • Fade to Black, a twenty-three-minute documentary featuring directors Bernardo Bertolucci, Catherine Breillat, and John Maybury, as well as scholar David Forgacs
  • The End of “Salò”, a forty-minute documentary about the film’s production
  • Video interviews with set designer Dante Ferretti and director and film scholar Jean-Pierre Gorin
  • Optional English-dubbed soundtrack
  • Theatrical trailer
  • PLUS: A booklet featuring new essays by Neil Bartlett, Breillat, Naomi Greene, Sam Rohdie, Roberto Chiesi, and Gary Indiana, and excerpts from Gideon Bachmann’s on-set diary

    New cover by Rodrigo Corral

Film Essays

Watching Salò

By Neal Bartlett October 04, 2011

Is the true measure of a film’s greatness its unforgettability? Conjured up in darkened rooms that mimic the intimate circumstances of our normally private dreams and fantasies, vast in scale . . . Read more »


Film Essays

Salò: I, Monster

By Catherine Breillat October 04, 2011

It’s always the same when I tackle Pasolini—the first encounter escapes me. Pasolini doesn’t come at you head-on; it’s more like embroidery, which can seem simple, unrelentingly repetitive. So . . . Read more »


Film Essays

Salò: Breaking the Rules

By Naomi Greene October 04, 2011

The year before he made Salò, or The 120 Days of Sodom, Pasolini hinted at the scandalous contours his last film would assume. In the course of a 1974 debate, he declared that now, as never . . . Read more »


Film Essays

Salò: A Cinema of Poetry

By Sam Rohdie October 04, 2011

In Pasolini’s last interview, just before his murder, and prior to the release of Salò, or The 120 Days of Sodom, he identified himself simply as a poet. His most well-known essay on the cinema . . . Read more »


Film Essays

Salò: The Present as Hell

By Roberto Chiesi October 04, 2011

“In the trilogy, I evoked the ghosts of characters from my earlier, realist films. Not to denounce them, obviously, but out of such a violent love for ‘lost time’ that it came out not as a . . . Read more »


Film Essays

Salò: The Written Movie

By Gary Indiana October 04, 2011

The title card that appears in the opening credits of Salò, or The 120 Days of Sodom, Pasolini’s “Recommended Bibliography,” seems to signal to the viewer that the filmmaker’s intentions can’t . . . Read more »


Film Essays

Salò

By John Powers July 21, 1998

On November 2, 1975, the Italian director Pier Paolo Pasolini was found dead—murdered, police said, by a young male prostitute. However lurid its details (the Roman tabloids ran huge front-page . . . Read more »

Photo Galleries


On Five


Film Essays

Watching Salò

By Neal Bartlett October 04, 2011

Is the true measure of a film’s greatness its unforgettability? Conjured up in darkened rooms that mimic the intimate circumstances of our normally private dreams and fantasies, vast in scale . . . Read more »


Film Essays

Salò: I, Monster

By Catherine Breillat October 04, 2011

It’s always the same when I tackle Pasolini—the first encounter escapes me. Pasolini doesn’t come at you head-on; it’s more like embroidery, which can seem simple, unrelentingly repetitive. So . . . Read more »


Film Essays

Salò: Breaking the Rules

By Naomi Greene October 04, 2011

The year before he made Salò, or The 120 Days of Sodom, Pasolini hinted at the scandalous contours his last film would assume. In the course of a 1974 debate, he declared that now, as never . . . Read more »


Film Essays

Salò: A Cinema of Poetry

By Sam Rohdie October 04, 2011

In Pasolini’s last interview, just before his murder, and prior to the release of Salò, or The 120 Days of Sodom, he identified himself simply as a poet. His most well-known essay on the cinema . . . Read more »


Film Essays

Salò: The Present as Hell

By Roberto Chiesi October 04, 2011

“In the trilogy, I evoked the ghosts of characters from my earlier, realist films. Not to denounce them, obviously, but out of such a violent love for ‘lost time’ that it came out not as a . . . Read more »


Film Essays

Salò: The Written Movie

By Gary Indiana October 04, 2011

The title card that appears in the opening credits of Salò, or The 120 Days of Sodom, Pasolini’s “Recommended Bibliography,” seems to signal to the viewer that the filmmaker’s intentions can’t . . . Read more »


Clippings

Shock Cinema

February 09, 2011

Not all of cinema’s greatest achievements have always been widely embraced. The film writers of Time Out New York have just illustrated this maxim with a sensational article called “The 50 Most . . . Read more »


News

Ciao, Caterina

September 16, 2010

You may not know the name, but you know the face. Caterina Boratto, known for her indelible performances in such Italian cinema classics as8, Juliet of the Spirits, and Salò, or the 120 Days of . . . Read more »


Clippings

Singing Morricone’s Praises

October 23, 2009

The eighty-one-year-old Ennio Morricone has been composing hypnotic music for film since the early 1960s, for projects ranging from spaghetti westerns (his whistling, woodwindy five-note theme . . . Read more »


Clippings

Pasolini’s Rome

December 02, 2008

Ian Thomson has written a fascinating piece on Pier Paolo Pasolini for the Times Online, on the occasion of the publication of two books on the Italian filmmaker-writer-poet: John David Rhodes’s . . . Read more »


Press Notes

Press notes: Laughing Till It Hurts

October 07, 2008

It seems Pier Paolo Pasolini’s infamous Salò, or The 120 Days of Sodom hasn’t lost any of its horrifying power. “The 1970s was a hotbed of scandalous art cinema, but Salò—unlike such X-rated . . . Read more »


On Five


Film Essays

Salò

By John Powers July 21, 1998

On November 2, 1975, the Italian director Pier Paolo Pasolini was found dead—murdered, police said, by a young male prostitute. However lurid its details (the Roman tabloids ran huge front-page . . . Read more »