Tag Archive: Pier Paolo Pasolini


Mark Cousins
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In previous posts I have praised Mark Cousins’ epic  ‘Story of Film’ – both the book and the Channel 4 TV series.

Cousins has an encyclopedic knowledge of cinema and the gift of articulating his enthusiasm for movies.

This talent is also evident in interviews he conducted for the BBC Scotland between 1999 and 2001 in a series called Scene By Scene.

The idea, which originated at the Edinburgh Film Festival  through an interview with Sean Connery, was a simple one. Top directors and actors were shown clips from films they had made or appeared in and talk about the background to them.

Cousins is from Ulster and his Irish accent is often confused for Scots. From comments on various forums, it’s obvious that his speaking voice irritates the hell out of many. Personally, I find the sing-song quality charming but whatever you may think about how he talks, it’s hard to criticise him for the passion and preparation he puts into his work.

Television is so full of shallow chat shows or banal documentaries that tell you nothing, that it’s a pleasure to find someone who doesn’t insult or patronise the audience.

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Saloposter“Anything that can be done to a rat can be done to a human being. And we can do most anything to rats. This is a hard thing to think about, but it’s the truth. It won’t go away because we cover our eyes”  – Bruce Sterling .

Sterling was writing about Cyberpunk in the Nineties but this quote came back to me after the grueling experience of watching Pier Paolo Pasolini’s final film : Salò, or the 120 Days of Sodom (Salò o le 120 giornate di Sodoma) which was made in 1975.

Sterling was explaining the reason for strong imagery in Sci-Fi novels; Pasolini’s movie is no futuristic fantasy but an aspect of the modern world we’d all prefer was a fiction.

The film is a powerful and uncompromising polemic exposing the depths of degradation human beings are capable of and Pasolini’s own brutal murder before its release ironically served to confirm this.

The British Board of Film classification says it “contains strong violence, sexual violence and scenes of torture and degradation”,  but even this strong warning seems an understatement.

The movie transposes the Marquis de Sade’s eighteenth century novel, 120 Days of Sodom, to Mussolini’s  fascist republic of Salò on Lake Garda at the end of World War Two.

The setting and events are exaggerated for dramatic effect but the film draws its inspiration from well-documented Fascist crimes against humanity.

The horrific scenes so graphically depicted are  also examples of the commonplace cruelties and abuse of power that are not confined to fascism.

The movie shows a systematic programme of rape, torture, mutilation and humiliation of 16 young victims (8 male, 8 female).

Their suffering is made more ‘entertaining’ for the sadistic protagonists by a ritualised series of gruesome initiation ceremonies including being forced to eat excrement,  put on dog leads and fed scraps of food.  As with hardcore pornography, the  sexual acts are reduced to the level  of detached, emotionless mechanical bodily functions.

It is undoubtedly a courageous and unique movie but  ultimately the crudeness of the allegory  and the extremity of the images just  left me feeling sickened.

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