Damals hatte der Film in der Bundesrepublik einen Kulturkampf ausgelöst. Es bleibt abzuwarten, wie er heute wirken wird. Immerhin hatte Pier Paolo Pasolini sich. "Es ist wahr, 'Salo' wird ein so grausamer Film sein, dass ich mich davon werde distanzieren müssen und so tun, als glaubte ich nicht daran". „[Filme wie Salò] zeigen den Faschismus erstmals wieder auf eigentümliche Weise interessant, ganz so, als sei diese Herrschaftsform eine Mischung aus.
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Die Tage von Sodom ist ein Spielfilm des italienischen Regisseurs Pier Paolo Pasolini aus dem Jahr Der Film basiert auf dem Buch Die Tage von Sodom des Marquis de Sade; es war Pasolinis letzter Film, bevor er im Erscheinungsjahr. Die Tage von Sodom (italienischer Originaltitel: Salò o le giornate di Sodoma) ist ein Spielfilm des italienischen Regisseurs Pier Paolo Pasolini aus. Kaum ein filmhistorischer Klassiker ist so schwer durchzuhalten wie Pier Paolo Pasolinis letzter Film. Während andere Filme in dieser Liste. (Theweleit ) Sie behauptet weiter, dass das Anschauen von Salò die Er ist auch Kritik am Regisseur selbst, an das Medium Film, sowie an den. "Es ist wahr, 'Salo' wird ein so grausamer Film sein, dass ich mich davon werde distanzieren müssen und so tun, als glaubte ich nicht daran". „[Filme wie Salò] zeigen den Faschismus erstmals wieder auf eigentümliche Weise interessant, ganz so, als sei diese Herrschaftsform eine Mischung aus. Pasolinis Salò oder Die Tage von Sodom gehört zu den umstrittensten Werken der Filmgeschichte. Denn der Film konfrontiert den Zuschauer mit einer.
"Es ist wahr, 'Salo' wird ein so grausamer Film sein, dass ich mich davon werde distanzieren müssen und so tun, als glaubte ich nicht daran". (Theweleit ) Sie behauptet weiter, dass das Anschauen von Salò die Er ist auch Kritik am Regisseur selbst, an das Medium Film, sowie an den. Die Tage von Sodom ist ein Spielfilm des italienischen Regisseurs Pier Paolo Pasolini aus dem Jahr Der Film basiert auf dem Buch Die Tage von Sodom des Marquis de Sade; es war Pasolinis letzter Film, bevor er im Erscheinungsjahr. Die Tage von Sodom von Pasolini ist einer der umstrittensten Filme überhaupt. In Deutschland wurde der Film nach dem Start kontrovers. Damals hatte der Film in der Bundesrepublik einen Kulturkampf ausgelöst. Es bleibt abzuwarten, wie er heute wirken wird. Immerhin hatte Pier Paolo Pasolini sich. Film Salo oder die Tage Von Sodom: Zwischen der lüpfigen Vorspannmusik und zwei Tango tanzenden jungen Männern im erlösenden Finale bricht in.
Websites like Ogrish and Rotten showing you photos of brains splattered across a parking lot, worms crawling through the mouths and noses of dead kids, dried corpses of prostitutes who'd decomposed to the point where their irises had sunken through their corneas.
Some fucking grim stuff. But it wasn't just the photos; it was the videos, the beheadings, murders, hangings, animal cruelty, and, on places I daren't venture even then, rape and torture.
Never before had humanity been exposed to its own cataclysmic cruelty in such an accessible way. It only takes one weird friend or a glimmer of morbid curiosity and you're watching someone's father drown in his own blood while someone slices through his trachea with a Bowie knife.
But I lost no sleep. They were troubling videos, but they didn't trouble me. As I matured, as we all do, my blood lust became weaker and weaker.
This stayed dormant in me until one sunny afternoon, when I decided to download it. I loved it from the opening. Pasolini was a controversial figure, his alliance with communism perhaps being the reason behind his death.
But he was nonetheless a creature of culture. The men are all, in their own way, physically grotesque, respectively bloated, lizard-like, scrawny, and nonce-y.
Four old madams accompany the men and youngsters, recounting sordid tales from their days as prostitutes over a soft piano while the men humiliate, sodomize, rape, and beat their detainees.
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Directors: Pier Paolo Pasolini. Keywords: degradation. Intimacy Sexual Chronicles of a French Family And so, "Salo" enters this bloody-fray.
It could not be any more controversial on all-fronts, and is a shout-of-rage against how little we all care about human-life itself. Pasolini was outraged and disappointed with the human-condition, and Italian politics had become chaos--leading Sergio Leone to remark at the time that, "Italian politics have become ridiculous.
It is the short-lived Republic of Salo, hence the title that any Italian of the s would recognize. For days, they degrade them in almost every-imaginable-way.
Gay-rape, buggery, forcing people to eat-excrement, and finally, death. Of course, it's all based-loosely on DeSade's tale and stays pretty-closely to the text's themes and scenarios.
He "chapters" each section with some of the structure of Dante's "Inferno", which is genius. To say this film is merely a statement on fascism would be wrong, it is a manifesto on what cruelty rests within all human-hearts.
Pasolini understood that, under the right-circumstances, we are all capable of these depredations. Some reviewers have stated they didn't find the film shocking--they should check-themselves into a clinic somewhere.
I've noticed that even friends who are into such directors as Takashi Miike, respect the power of this film. Miike has some similarities-in-style with Pasolini, but goes for a more genre, stylized-look.
Even John Waters lists this film as sicker than his worst-offenders! To say I was shocked would be an understatement.
Besides being pretty sick, this film looks pretty-good. The late Tonnino Colli's who also worked-for Fellini and Leone photography lends the film a look that could be hung in the Louvre, and it gives the film a greater subversive-edge.
It should be noted that the film is not "legitimately-available" in the United State for copyright reasons. However, there are very-good copies out-there since it is not in-print.
I found one that is an exact-duplicate of the original US-edition for a decent-price, so it is out there, with some searching.
Criterion's is the best-transfer we have to-date. It says-a-lot about what is lasting and meaningful to people, and it ain't blockbuster movies.
A company called "Water Bearer" has sets of Pasolini's other works, but I have it on good-word that they are inferior-quality.
It would be nice if Criterion did a Pasolini Box that included a newer-transfer of "Salo" with restoration. It is one of the most-important films ever made.
We all stand-accused, even the filmmaker, and that's the point. Be warned: not for children or adults who fear soul-searing, raw-existentialism.
Not a Film about Fascism at all Ariel6 22 November Pasolini made it quite clear in several texts that this is not an anti-fascist film, but rather that fascism is a symbol for something far more pervasive.
He ultimately saw himself as a committed director, and thus all of his historical films are about the present, and this film was made in the 70's, not in the 40's.
It is rather an anti-bourgeois film. Pasolini's political enemies at the time were not fascists at all, but the Christian Democrats Furthermore it is NOT a defense of Sade, but an apology for his earlier writings and films which mythicized acts of violence and glorified them as the pure, unconscious, pre-verbal expression of the subproletariat.
However Pasolini saw the riots of the bourgeois students in as nihilistic acts of revolt, not revolution--a revolt of the Bourgeoise against itself, as his poetry makes clear.
He watched in horror as he saw his vision of true revolution twisted into a childish and merely destructive tantrum against the previous generation.
And so it is the Bourgeoise, symbolized by Fascism, which he represents and condemns in Salo, in the guise of what he considered to be a medieval morality play.
And it is in this context that he apologizes for having made statements like "Only a bloodbath can save the world" , which is quoted in the film.
Yet, like everything else, it has been appropriated by the bourgeoise, who misinterpret it first as Nietzsche, then as St. Paul, until it gets reduced to a merely absurdist Dada interpretation.
The characters are continually misinterpreting the many structuralist citations, because they have no history. History has been destroyed, and thus Pasolini is trying to re-introduce it in the film.
The revolution, by , was impossible, as there was nobody left to fight it. The bourgeoise, Pasolini lamented, had subsumed everything into itself-there was no "other", only a technological god-like and all-inclusive power structure.
But what is most shocking is that it is the Sadean libertarianism and the permissivness of that class that Pasolini finds most disturbing. He held that the permissiveness of the "anarchy of power" was more tyrannical than repression.
He was most traumitized, oddly, by the increasing tolerance of homosexuals. And so truely Pasolini takes the side of Dante, not Sade.
And finally, its ultimately a film about misinterpretation. What the characters say and what they do as in Sade are incongruent. He knew that he was to be misunderstood by his Bourgeois audience, as it misunderstood itself, Pasolini said that it was intrinsic that Salo remain enigmatic on the model of Dante , and this is the film's real genius.
Judging by most of these reviews, Pasolini made his point. More than 40 years after its initial release, Salo is still shocking, perverse, fascinating, and darkly funny.
Four libertines, powerful fascists in Nazi-controlled Italy, kidnap 18 teenagers and bring them to a hidden palace. There they subject them to torture and sexual abuse.
They completely dehumanize their victims, showing them no sympathy and punishing them when they plea for sympathy. The teenagers must play the role of sex toys with no feelings.
The libertines enjoy them in perverse, degrading ways, but exquisitely, as an epicurean would enjoy a fine wine.
They judge the teenagers like they would prize cattle, appreciating their beauty, but slaughtering them when done with them.
All the while they casually discuss the nature of pleasure, power, and life, quoting Nietzsche and other philosophers.
The libertines are detached from their victims, as the viewer is detached from both victim and torturer. Pasolini shows in Salo how the powerful dehumanize the powerless.
It is graphically sexual and violent without being either a porn or horror flick. The cold detachment, the intelligence, and the strength of the message prevent it from being either.
Salo is not for everyone, but for film lovers who can stomach it, it's a must-see. Quinoa 8 July It's indeed appropriate that it's called the most disturbing and disgusting film ever made, as it well could be.
Both films go out on a limb with excesses although Gibson's excesses were arguably not as faithful to the source as Pasolini was , and I have to say that at least from an objective point of view Pier Paolo Pasolini gets the job done there.
With great cinematographer Tonino Delli Colli Once Upon a Time in the West providing the sometimes exquisite camera-work and lighting, Ennio Morricone delivering a slight, but melodic tone in the background, and with interesting sets, plus an interesting editing style that doesn't entirely show as much of the grotesque and sex as it could've, the craft behind the film is pretty good.
If one were to look past the subject matter, it's actually a very well constructed piece of film art, which is why many consider it important.
I suppose it's a unique film, but you couldn't pay me to want to watch it again unless it was in a film class where the teacher proved himself to have reason to have us watch it.
As in the book which I've never read and don't really have a desire to seek out at this point in my life , the acts are relentless, and in between the fascists instilling fear and intense degradation, a woman narrates stories that go over and over as she describes everything from eating excrement to helping out a grown man in diapers.
By the end, it's a controlled chaos as most are dead and those who aren't look on with binoculars. Now, the problem is with this material, at least for me, it becomes very subjective.
I can see the core point PPP's making it's almost like a twisted satire , and it does remind me how much fascism is the worst kind of ideology there is on Earth But then the relentlessness of it all becomes very, very close to unbearable i.
And, reminding me again of 'The Passion', Salo doesn't give any of the characters any other kinds of emotions to work in than those they're stuck with.
There's no deviating from the paths and fates of the characters, and without any point of entry into the victims the exclusion being two girls, who all they say are 'I can't take this anymore' to each other , they're left with the controlled state that the villains have put them in.
I suppose the acting by these four, vicious bastards is commendable, but after a while the acts that they thrust upon the kids stops being shocking, and becomes boring.
And when a film that is supplied with a talented crew and cast that does whatever PPP tells them to do, and it's boring, it doesn't work for me.
The stories by the one woman, in-particular, tend to drag on as her character seems to just think up new ways to entice the heads of the manor into ecstasy.
On top of this, there isn't logic to history because if this is towards the end of the war, where are the allies putting a stop to the fascists?
I guess, in the end, I found Salo to be one of the more difficult films I've ever seen. I know I'm sort of glad I got through with it, but by the end I realized that PPP committed a bit of a film crime though certainly not deserving of his mysterious death before the film was released - there's no room for catharsis.
Because the film is a bit one-dimensional, and hope is a lost cause, by the end all one could reasonably be left with is emptiness.
In a way it reminded me of Bergman's Cries and Whispers in how it's just a sea of bleakness and despair for everyone involved, but at least in Bergman's bleak world there are moments of sweet if maybe brief humanity and love.
I can't recommend Salo except for extreme, die-hard film buffs and for nihilistic types and maybe for those interested in understanding the nature of fascism , and for those looking for what's worse after Gibson's POTC.
It's definitely deserved, either way you take the film, as one of the most notorious, soul-churning pieces ever produced, though I wouldn't say it's one of the worst.
Nor is it a narrative of any kind. Instead, it is a presentation of a very disturbing philosophy - Man has no kind nature. They prey on the most vulnerable amongst themselves, and only those with no sense of pride and a willingness to become predators as well survive to the very end.
In the end, everybody is in it for themselves. Sometimes Pasolini delivers his message with creepy minimalism.
But mostly he prefers to give it to the viewer in a manner as subtle as a brick in the head. Pasolini's persistance on showing only the darkest corners of human nature and his complete denial that anything else even exists creates a very dark and incredibly disturbing picture.
It is also the biggest pitfall of "Salo". It could have been a far greater and much more powerful film if Pasolini allowed at least a single slightest ray of light into the infinitely pessimistic philosophy that he portrays here.
However, the way it ended up was as a cry that human kindness does not exist which pretty much was how it was intended, after all.
In the final scene, he states that the viewer has every bit of potential to be just as evil and predatory as the four fascists in this movie.
A very powerful and thoughtful statement, actually, one that any human being should not deny. In the end, this is a very intelligent and disturbing motion picture, one that forces the viewer to think.
But the endless negativity and pessimism keeps it from being anything greater. It should only be viewed by those emotionally prepared to handle its very disturbing point-of-view.
Best of Pasolini andersngr 17 November I strongly recommend this film to anyone over age The main storyline is taken from De Sade and gives the story its elements of nihilism and sexual extravagance.
The setting in a rural villa outside the plagued Florence with prostitutes as storytelling muses is taken from Boccacio's Decameron, the first book written in Italian and not in Latin, thus beeing one of the indicators of the italian renaissance.
The renaissance allowed the focus to somewhat move from God towards Man. The film is furthermore divided into sections, called circles, which is a direct parallell to Dante's Divine Comedy.
This may be the second most important book after the Bible and describes a journey from the Purgatory, through the deepest caves of the Inferno, that finally ends in Heaven.
This is the literary fond of the story: De Sades lust, Boccacios splendid, isolated, depraved bourgeoise and Dantes symbolic re-birth and claims for his loved one Beatrice.
The orchestrators of the ritual orgys that are to take place is party of middle aged men a metaphor for the society? The actors are kidnapped youths that are brought to the stage partly as decoration objects and partly to be actors in the play subjects.
However, as the individuals seek the transition from object to subject, they walk a thin line. The climax of the drama is the cleaning process the punishment in the yard where disobedience and breaking of rules must be paid for.
Of course with lethal consequnces. In the play directed by the Libertins there are only black and white, and the only way to pay for your sins is with death.
Of course the rules are totally inverted from the standards of society: Right is wrong. Pasolini follows in his graphical expression the latin theater tradition, a direct communication with the audience.
Pasolini wants to draw things to their ultimate end. Thats why he have to use the very strong ingredients that he does. Well, pehaps he could have made it less extreme but I believe that he did'nt want to compromise the least.
Therefore this film deserves the uttermost respect. See it, be disgusted if you must, but then ask yourself why you react like you do.
Then ask yourself again why this is an important film and a milestone in the art of filmmaking. Mourn-2 28 March Four fascists in WWII Italy abduct 16 youths and subject them to dehumanizing rape, humiliation and torture.
Many reviewers have commented that this movie is powerful and that everyone should see it because it gives you access to true feelings of disgust and guilt about man's inhumanity to man, especially during times of anarchistic, despotic, or fascist rule.
If you need this movie to understand how terrible the crimes visited on people by the fascists, Nazi and otherwise, during WWII were, then Pasolini's only success is that he has demonstrated just how sick and desensitized our global society has become.
Stark brutality has its value as a tool for demonstrating the full force of certain horrible events. The problem with this film is that this tool has to be accompanied by real emotion and demonstration of the effect of that brutality.
The only emotion other than pure physical pain demonstrated by the adolescents in this movie is during one scene where a young abductee cries at being reminded of the death of her mother.
Aside from that, the victims walk through this movie like zombies as various disgusting acts are perpetrated upon them. There is no emotion, and frankly, the movie is an extremely boring series of repetitive acts of violence and humiliation that are reputedly designed to demonstrate the horror of unchecked power.
The truth is, this is a dull expose on the acts of several bored, wealthy, powerful members of society who can no longer find stimulation in the banal trappings of every day life, just like the book it is based on.
There is no reason that this same exact movie could not be shot in a palace in the Middle East, a castle in Austria, a Villa in Latin America or a mansion in the USA and be just as realistic.
It is nothing more than a dull comment on the depravity of the rich and bored. Don't be drawn in by the mystery and the hushed tones that people use when they speak of this so-called "Masterpiece".
And if you are a DVD owner, don't be fooled by the fact that Criterion wasted their time with this banal piece of Anti-Intellectual trash.
This is the most disgusting film I have ever watched solongandthanksforallthe 2 August The ways in which the "message" was intended to get across are just the most disgusting and superfluous use of human degradation I have ever seen.
There are some truly disgusting moments in this film. Personally I can't see how anyone could enjoy watching this film. It is the most disgusting film I have ever seen and there is no merit to it.
Any metaphors or intended messages and social commentary are completely overshadowed. This film is nothing but an exhibition of degradation, torture, and rape.
Why this has a rating above a 1 or 2 is beyond me. I watched this film with an open mind, not really knowing what to expect.
Also, before I go on I wanted to say that I am not the type of person that scoffs at this type of subject material, but only if it is done right.
The movie is an aimless mix of rape, homosexual pornography, torture, scat pornography, and gore.
This is the gist of the movie. No real conclusion, no direction, no purpose; just shock value. If I am missing some big part of this movie that allows it to make sense, or warrants its 6.
As far as I can see it is nothing more than a boring, yet excessive, shock movie with no conclusion whatsoever.
This film is Pier Paolo Pasolini's testament. It has not aged one iota and is even probably better now than it used to be. The first strong element is that it has to do with sex, the body and the use of the body for all kinds of sexual activities and pleasures.
But onanism is out. Sex is always an activity that connects at least two people, more often than less a lot more than two if you include the voyeurs.