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Same
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A movie with Morricone's music
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engmov-041-045C
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5
PASOLINI'S MOVIES WITH MUSIC EDITED BY MORRICONE-5
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About Pasolini
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Films:
LE NOTTI
DI CABIRIA, 1957 - NIGHTS OF CABIRIA (co.sc., uncredited,
dir. by Federico Fellini)
ACCATTONE, 1961 - Pummi
MAMMA ROMA, 1962 - Mamma Roma
ROGOPAG, 1963 (with Rosselini, Godard, and Gregoretti, the
episode 'La Ricotta')
LA RABBIA, 1963
COMIZI D'AMORE, SOPRALLUOGHI IN PALESTINA (1964)
IL VANGELO SECONDO MATTEO, 1964 - THE GOSPEL ACCORDING TO
ST. MATTHEW - Matteuksen evankeliumi
LE STREGHE, 1966 - THE WITCHES (ep. LA TERRA VISTA DALLA LUNA)
UCCELANI ET UCCELINI, 1966 - HAWKS AND SPARROWS - Haukat ja
varpuset
EDIPO RE, 1967 - OIDIPUS REX
TEOREMA, 1968 - THEOREM - Teorema
CAPRICCIO ALL'ITALIANA, 1968 (ep. CHE COSA SONO LE NUVOLE?)
AMORE E RABBIA, 1968 (ep. LA SEQUENZA DEL FIORE DI CARTA)
PORCILE, 1969 - PIGSTRY - Sikol?tti
MEDEA, 1970
IL DECAMERON, 1971 - THE DECAMERON - Decamerone
RACCONTI DE CANTERBURY, 1972 - THE CANTERBURY TALES - Canterburyn
tarinoita
12 DICEMBRE, 1972
LE MURA DI SANA'A (1973)
IL FIORE DELLE MILLE E UNA NOTTE, 1974 - ARABIAN NIGHTS -
Tuhat ja yksi y?t?
SALò O LE CENTOVENTI GIORNATE DI SODOMA, 1975 - SALO OR THE
120 DAYS OF SODOM, based on Marquis de Sade's novel
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Above:The
book about Pasoli published by China
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Biography
for Pier Paolo Pasolini
Pier
Paolo Pasolini achieved fame and notoriety long before he
entered the film industry - a published poet at 19, he had
already written numerous novels and essays before his first
screenplay in 1954. His first film Accattone (1961) was based
on his own novel, and its violent depiction of the life of
a pimp in the slums of Rome caused a sensation. He was arrested
in 1962 when his contribution to the portmanteau film Ro.Go.Pa.G.
(1963) was considered blasphemous, and given a suspended sentence.
It might have been expected that his next film, Vangelo secondo
Matteo, Il (1964) (The Gospel According to St.Matthew), which
presented the Biblical story in a totally realistic, stripped-down
style, would cause a similar fuss, but in fact it was rapturously
acclaimed as one of the few honest portrayals of Christ on
screen (its original Italian title pointedly omitted the Saint
in St. Matthew). Pasolini's film career would then alternate
distinctly personal (and often scandalously erotic adaptations
of classic literary texts) Edipo re (1967/I) (Oedipus Rex),
Decameron, Il (1971), Racconti di Canterbury, I (1972) (The
Canterbury Tales), Fiore delle mille e una notte, Il (1974)
(Arabian Nights) with his own more personal projects, expressing
his controversial views on Marxism, atheism, fascism and homosexuality,
notably Teorema (1968) (Theorem), Pigsty and the notorious
Salò o le 120 giornate di Sodoma (1976) (Salo, or The 120
Days of Sodom), a relentlessly grim fusion of Mussolini's
Fascist Italy with the Marquis de Sade which was banned in
Italy (and many other countries) for several years. Pasolini
was murdered in still-mysterious circumstances shortly after
completing the film.
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An
E-mail from Italian friend
Angela
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We
have received an E-mail from an Italian friend
Angela on April 5,2007: |
Wonderful
site!!
I write from Italy and my site is www.pasolini.net
Thanks for your fine pages on Morricone and Pasolini!
Complimenti e auguri. |
The
E-mail address of
Angela
and his web site is angela.molteni@fastwebnet.it |
We
have visited the web site, this is a professional
web site about Pasolini, its content is very abundance,
it has 6 kinds of letters: Italy, English, French,
German, Czech and Brazil. You can enter from
here so that to select letter, I believe that
you will get much results about Pasolini there. (
You also can enter a few cut images got by us from
the web site for convenient browse some web pages:
01
Main page, 02
Select letters, 03
English page)
Wish
Angela
and his site every success in future!
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Our
web site also have some pages about Pasolini, but they
only are Chinese, If you are interested it, you can
enter here to see it. |
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PASOLINI'S
MOVIES WITH MUSIC EDITED BY MORRICONE 5-5
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LE
120 GIORNATE DI SODOMA ( SALO OR THE
120 DAYS OF SODOM, 1975)
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75-06
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Relative
music page
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IMDB(English)
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IMDB(Chinese)
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Note
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About
the movie from IMDB
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Overview
Director:Pier
Paolo Pasolini
Writers:Pier
Paolo Pasolini (screenplay) and
Sergio Citti (screenplay) ...
more
Release Date:January 1976 (Italy) more
Genre:Drama / Horror / War more
Tagline:The 120 Days of Sodom more
Plot Outline:Four fascist libertines round up 9 teenages boys
and girls and subject them to 120 days of physical, mental
and sexual torture. more
Plot Synopsis:This plot synopsis is empty. Add a synopsis
Plot Keywords:Bodyguard / Sadomasochism / Prostitute / Surreal
/ Teenager Nudity more
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Additional
Details
Also Known
As:Salo ou les 120 journées de Sodome (France)
Salo, or the 120 Days of Sodom (International: English title)
more
Parents Guide:View content advisory for parents
Runtime:116 min / Argentina:112 min / USA:115 min
Country:Italy / France
Language:Italian / French / German
Color:Color (Eastmancolor)
Aspect Ratio:1.85 : 1 more
Sound Mix:Mono
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Synopsis
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. Written by {andrewm@kbss.bt.co.uk}
(See
here)
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A
brief and Review
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"There
is nothing either fundamentally good, nor anything fundamentally
evil;
everything is relative, relative to our point of view . . .
This point once established,
it is extremely possible that something, perfectly indifferent
in itself, may be indeed
distasteful in your eyes, but may be most delicious in mine;
and immediately I
find it pleasing, immediately I find it amusing, regardless
of our inability to agree
in assigning a character to it, should I not be a fool to deprive
myself of it merely
because you condemn it?
- The Marquis de Sade from The 120 Days of Sodom
I chose
to open this review with the above quote not only because
it's from Sade's The 120 Days of Sodom, the very book that
served as the basis for the Pier Pasolini film we're about
to discuss, but also because it serves as perhaps the only
logical defense for a film that's as disturbing, reprehensible,
and morally bankrupt as SALO: The 120 Days of Sodom. Like
Sade's infamous novel (which was written on a long roll of
paper while he was imprisoned in the Bastille and never published
during his lifetime) Pasolini's film is a nihilistically bleak
look into the heart of man. And while on the surface, it seems
to have little to no redeeming value whatsoever, in actuality
it's a complex film that examines not only the darkness within
us, but also our own passivity that allows tyrants like those
featured in the film and novel to commit their atrocities.
Still, in spite of these lofty artistic aspirations, many
have chosen to dismiss the film as little more than elaborately
filmed exploitation and condemn those who champion it - and
it is to those critics that I offer the divine Marquis' thoughts
on the matter.
Drawing
on Sade's source material, but updating it and making it his
own, Pasolini's (MEDEA, THE CANTERBURY TALES) SALO is the
story of four aristocratic noblemen during World War II. These
four individuals: the Duc, the President, the Bishop, and
the Magistrate, conceive an elaborate plan to kidnap eighteen
teenagers and abscond with them to an isolated mountain retreat,
taking along their own daughters (who the four main characters
have swapped and taken as wives), an entourage of guards,
and four prostitutes.
Once there,
they will spend the next 120 days listening to stories from
the prostitutes. Each prostitute has a different specialty
— one tells of simple sexual passions, another tells more
outré sexual fare (i.e. coprophilia, etc.), yet another tells
tales of torture, and so on. Each libertine has a small entourage,
which he can use as he pleases as the stories fan the flames
of his desires. What ensues is a nightmarish vision of subjugation,
degradation, and destruction of the human spirit as the four
libertines continually assault their captives in order to
procure their own pleasure.
The film's
performances are diverse and quite interesting. Most of the
cast was comprised of people with no prior acting experience.
This makes for an intriguing visual juxtaposition, particularly
in the film's teen characters. These untrained actors are
tabula razas throughout most of the film - never quite emoting
anything despite the severity of their situation. In a different
film, this might have been a hindrance, but since Pasolini's
making a statement on the nature of apathy and fascism, it
actually strengthens the movie.
Equally
impressive are the four "heroes" of the film. Paolo
Bonacelli (THE STENDHAL SYNDROME) turns in a particularly
fine performance as the Duc. He's menacing and intriguing,
often in the same scene. Giorgio Cataldi, Umberto Quintavalle,
and Aldo Valletti (who play the Bishop, the President, and
the Magistrate respectively) turn in solid performances as
well - leering and delighting in the atrocities that they're
perpetrating throughout the film.
Pasolini's
direction is inspired. Much of the film is shot in a very
static fashion - with a camera in a set position recording
the events in the room with little or no movement. It gives
the proceedings a documentary style feel that makes the film
even more disturbing. Pasolini also manages to build tension
throughout the movie: from the film's opening segment, "The
Circle of Obsessions" onto the disturbing "Circle
of Shit" and concluding with the orgy of murders in the
"Circle of Blood", Pasolini continually keeps the
atrocity level rising ever higher - even when it seems that
things can get no worse, they do.
The film's
certainly not for the squeamish or the easily offended. In
SALO, rape and sodomy are fairly pedestrian peccadilloes.
Viewers are treated to a multitude of perversions, including
feces eating, bloodletting, scalpings, and finally brutal
murder. This film is guaranteed to gross out even the most
hardcore of viewers at some point.
Gruesome
subject matter aside, Pasolini has a point. Much of the film's
gore and violence is filmed at a distance, or takes place
slightly offscreen, which allows the viewer to imagine events
even worse than Pasolini could have filmed. When the film
finally reaches the violent murders of its final act, the
Duc watches the slaughter from a room above the killing fields,
viewing it through binoculars - distancing himself from what
gives him pleasure, but still delighting in it nonetheless.
Pasolini also makes it fairly clear that he's indicting his
audience and their passivity in watching this scene as well.
The fact that these terrible acts are committed and viewed
at a distance, without sound, makes them even more visceral
and disturbing.
Surprisingly
enough, the film is quite faithful to Sade’s five-hundred
page novel until the final act. Many of the simple passions
from the novel are recounted here, and it's only in the film's
final act that Pasolini stakes out into territory that's solely
his own.
Sadly,
this would be the last film Pasolini would direct as a young
male prostitute murdered him shortly after SALO's completion.
In the
end, SALO: The 120 Days of Sodom is a powerful, visceral,
disturbing film that looks into the darkest corners of the
human psyche and never flinches from what it uncovers. Yes,
it's exploitative, but it's also an artistic film made by
a filmmaker who wanted to confront the complacency of both
mainstream cinema as well as humankind. Few can look back
on Sade's novel or Pasolini's film with fond memories, but
even fewer would admit to not being affected by their savage
vision. It is for this reason that anyone who's serious about
film should see SALO: The 120 Days of Sodom. I give it nothing
less than my highest recommendation (more)
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Pasolini's adaptation of the Marquis de Sade's 18th century
novel places the action during WWII in Italy, where Fascist
rulers brutalize and debauch 16 adolescent girls and boys.
Pasolini's last film, soundly condemned at the time of its
release by Italian censors. (more)
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Storyline
Genres:
Drama, Horror, War
Tagline: The final vision of a controversial filmmaker
Plot Outline: Four fascist libertines round up 9 teenages
boys and girls and subject them to 120 days of physical,
mental and sexual torture.
Plot Synopsis: 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 S*** and the Circle of Blood. Following this,
the youths are executed whilst each libertine takes his
turn as voyeur (more)
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The
movie file: 228M, 281K RMVB format, 111 minutes, Italian dub
and Chinese subtitle
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See a part of the movie from CC union (321")
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See a part of the movie from CC union (12')
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