Salo, or 120 Days of…
Saw this at the TIFF Cinematheque as part of their Pasolini retrospective. Apparently I would have stayed longer in the theatre for 25 more minutes if the Cinematheque had the premiere version. It’s either in Criterion, on the internets, or is lost ‘forever.’
The movie isn’t porn. It isn’t titillating, unless having a two second glimpse of 16-year old flaccid penis gets you off, which is, good for you I guess. Four men, the Duke, the Bishop, the Magistrate and the President sign a book of rules, shepherd eighteen adolescent boys and girls into a mansion and degrade them sexually. There isn’t the contact nor intimacy nor should I say, intensity of ‘normal’ sexual activities. The adolescents are ‘taught’ sexual acts and are told that that’s their purpose. They have to please these four men and their pleasure isn’t a reward. And they eat shit and they get sliced in the forehead. If you were expecting something else, sigh on you.
It’s funny how I can’t show any nudity or sexual acts to a 20 year old in the screen caps – I won’t anyway – but it would probably have been OK to show the same 20 year old with a gun on his head. Or his tongue cut off.
This movie is Pasolini’s critique of fascism in Italy, but I’ll get back to more on that. While the men are examining one of the potential girls, the Magistrate asks her if he will prefer them to the nuns in the convent, the gamine answers that she doesn’t know that yet. This might look like overreading, but a madam transfers the innocent child from one oppressive system to another, a typical problem in ‘modern’ Europe when religious absolute monarchies are overthrown by totalitarian regimes like that in Italy. Depending on your judgment of the girl’s fortune, she wasn’t chosen because of a missing tooth. The nuns already turned her into damaged goods.
Again, critique of Fascist Italy, and conspiracy theories suggest the Neo-Fascist P2 killed Pasolini. That was repeated by my friend’s friend outside the theatre at the end of the film, who likened the mansion in Salo to the 9 billion secret prisons being built in Canada at this moment – his opinion, not mine. The fact that Fascism ruled in more than one country in Europe, and that threat constantly pops up made the film more resonant to me. And that I couldn’t like the inane blindness and heteronormative stance of Amarcord, a movie made near the same time about the same earlier period, after watching Salo. Although it’s not a great one or a favourite, it’s essential.
However, Michael Haneke names this one of his ten favourite films. Obviously.