Сало, или 120 дней содома / Salo o le 120 giornate di Sodoma / Salo, or the 120 Days of Sodom (1975) DVDRip |
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Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood. Following this, the youths are executed whilst each libertine takes his turn as voyeur...
Экранизируя роман маркиза де Сада, Пазолини переносит действие в 1944—45-е годы, в фашистскую «республику Сало» на севере Италии, где группа лиц из высшего общества во главе с принцем унижает, издевается, мучает, пытает юношей и девушек, собранных для услаждения извращённой элиты, чувствующей свою погибель. Четыре месяца длится эта экзекуция. Для взрослых это последняя возможность удовлетворить свои низменные инстинкты, для молодых людей — расплата за свою юность и желание жить... Pasolini sceglie come ambientazione del film la Salò del 1944, e prende a simbolo il potere fascista solo per richiamare un qualsiasi potere. Il film, che è strutturato in 4 gironi (4 è il numero che ritornerà spesso nel film, come nel libro di De Sade), si rifà ad un’impostazione dantesca. Come in Dante, nel passaggio da un girone all’altro la perversione dei supplizi subiti dai giovani sequestrati, maschi e femmine, inflitti da parte di quattro gerarchi di Salò, tra cui il monsignore, aumenta gradualmente di intensità fino al preannuncio della morte... |
Intitolato Salò per simboleggiarne il quadro storico, l'ultimo film di Pasolini si svolge in realtà — e significativamente — in un castello fuori Marzabotto. Qui, quattro potenti in diversi ambiti, un duca (Paolo Bonacelli), un monsignore (Giorgio Cataldi), un giudice (l'eccellenza, Umberto Paolo Quintavalle) e un industriale (il presidente, Aldo Valletti) fanno rapire da un gruppo di collaborazionisti e costringono nove ragazzi e nove ragazze (un ragazzo morirà prima di arrivarci per aver tentato la fuga; una ragazza morirà poco tempo dopo l'arrivo) a soddisfare ogni loro depravazione sessuale, seguendo un regolamento pattizio firmato segretamente.
Il film si ispira all'omonimo romanzo "Le 120 giornate di Sodoma" di de Sade così come su alcuni trattati sullo scrittore (nella bibliografia essenziale sono citati scritti di Barthes, Blanchot, De Beauvoir, Klossowski, Sollers, alcuni dei quali ripresi nei dialoghi) ed è diviso dantescamente: un Antinferno e i gironi delle manie, della merda e del sangue. Ugnuno dei tre gironi vede una maîtresse (Caterina Boratto, Elsa De Giorgi ed Hélène Surgère) raccontare aneddoti per stuzzicare l'immaginazione che sarà di seguito messa in pratica. Nel castello sono vietati ogni rapporto eterossessuale fra le vittime e ogni atto religioso: solo i quattro potenti possono decidere qualsiasi azione vogliano.
Estraneandosi dal contesto esterno, Pasolini compie un'operazione sotto alcuni punti di vista simile a quella che 34 anni più tardi caratterizzerà il Moloch di Sokurov. In Salò si vede l'arroccamento del potere in un eremo, nel quale viene messo in scherno attraverso la liberazione privata, candida nel suo orrore, della follia. I corpi vengono privati di una personalità (paradigmatici i ragazzi/cane che si azzuffano per i pezzi di carne), ne viene prolungata l'agonia, vengono sfruttati per rituali orgiastici, scatologici (il banchetto di nozze), para-religiosi (il monsignore sposa gli altri tre, vestiti da signore, con altrettanti ragazzi). Si assiste così alla banalità repellente di intellettuali malati, che nel suo regno echeggia il decadimento e lo svilimento dell'essere umano al di fuori — di altri corpi denudati in campi di sterminio e probabilmente anche quelli sfruttati dalla società industriale di massa.
Pasolini ha bisogno di un film repellente e lo cala sempre più, nel finale di torture con inquietante sottofondo non a caso di Wagner, in un vicolo cieco. Nello stesso tempo getta, sempre nell'ultima parte, delle grida: la ragazza negli escrementi che urla «Dio, Dio! Perché ci hai abbandonati?», il ragazzo sorpreso a violare con la serva etiope il tabù dei rapporti eterosessuali che muore a pugno chiuso, la pianista che si getta dalla finestra. E chiude con due soldati che cambiano musica alla radio e si mettono a ballare abbracciati: «-Come si chiama la tua ragazza? -Margherita».
A MANIFESTO FOR PERVERSION AND EVIL - HIERONYMOS GROST - WWW.CULTREVIEWS.COM As Allied forces began their final push to control Italy, a group of Fascist leaders in Salo, Northern Italy, (the last bastion of Nazism left in Italy) who knowing their time is limited, decide to bow out with a bang. Their plan is to kidnap local boys and girls, the sons and daughters of so called Communists in the community in order to subject them to the utmost degradation while at the same time satiating their own evil vices. The four main leaders gather at a palatial country house and draw up their perverted plan down to the utmost detail. The kidnapped youths are told that they can forget being rescued as their families believe they are dead, they are here to be degraded by those in authority and that they will be punished if they look at a member of the opposite sex and that anyone resorting to any religious activity will be executed. Each day the captives and their captors gather in the great hall where one of three mature ladies of ill repute, Salo, or the 120 Days of Sodom salo1 300x184 dramaall Madames from local brothels, each take their turn to regale them with a detailed erotic tale from her past, this is designed to get everybody sexually aroused for the coming orgies. These youths initially show some rebellious traits, but these are quickly curtailed, as they are continually subjected to degradation, humiliation, debauchery and rape, but these are some of the lesser evils inflicted on them and by the end its difficult to tell the youths from their captors, as the rapists are themselves raped while in the midst of their dastardly deed, their hedonistic transformation complete.
Each stark and sterile scene seems to have been framed with a geometric fervour and the continual bombardment of harsh and disturbing visuals is juxtaposed brilliantly against the beautifully simple piano arrangements and sumptuous strings of Ennio Morricone’s orchestra. Pasolini takes up the story at De Sade’s request where he had left off, De Sade in his unfinished book asking the reader to finish the story themselves and this Pasolini does with gusto and glee. Pasolini had long courted controversy in his career, touching on controversial subjects, being a homosexual and also a strong anti fascist, which is ironic because his father was a hero to the fascists, as he had once saved Benito Mussolini’s life. He had long been scorned by the Catholic Church because of his lifestyle and beliefs but received somewhat of a reprieve from them after his film THE GOSPEL ACCORDING TO ST MATTHEW was released, which the church surprisingly praised as a fine tribute to the man, but it wasn’t long before he was back on controversial topics such as Salo. Sadly Pasolini for his troubles never actually lived to see Salo’s official release as he was brutally murdered before hand, by a male prostitute amidst rumours of a Mafia hit. Pasolini’s homosexuality is perhaps one of the reasons the film is labelled in some circles as nothing more than arty gay porn and yet there is also plenty of heterosexual content, so it’s a moot point, but there are many gay scenes within and the film as a whole and it does have a preponderance towards, nay, a continuous homage towards the buttocks and anus, which are given an exalted position at the expense of both sexes genitalia, so if one is in anyway leaning towards homophobia this film should be given a miss.
Pasolini’s most controversial film is loosely based on some equally controversial writings, Dante’s INFERNO and De Sade’s incomplete 120 DAYS OF SODOM. The film echoes these writings and is split into three parts, The Circle of Manias, The Circle of Shit and The Circle of Blood, with each subsequent section becoming more vile, although it’s the second section, a sickening banquet, that will stand out and live long in the memories of all who lasted the pace. The final segment gathers a pSalo, or the 120 Days of Sodom salo2 300x186 dramaace as the allied bombers become louder and the captors seek the ultimate satisfaction when all the hell of the “Inferno” is unleashed in a brutal final scene of sadism that is virtually a portmanteau of all the most gruesome scenes in Horror movie history, it’s a scene that can leave no doubt in the viewers mind, that the captives are in the Hades/Hell of De Sade‘s imagination.
Pasolini’s film has a justified reputation as a disturbing film and despite its exploitation excesses it is a remarkably well crafted film, exquisitely filmed by long time collaborator Tonino Delli Colli (perhaps best known as Leone’s DP on IL BUONO, IL BRUTTO, IL CATTIVO).
The film is also noted by many critics as dull or boring, for my own part I found it riveting, as the film wastes no time in getting down to the dirty shocking deeds and continues to surprise and shock with every reel, a “Filet de Cinema”. The film is a manifesto for perversion and evil and how under the right/wrong circumstances it could be brought out in us all.
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| #2 написал: TakTash |
12 января 2011 17:41
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