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(More customer reviews)"Salo" is most certainly one of the most controversial films of all time. With an eye sensitive to horrific imagery, it is easy to fall into a trap and see the imagery for only what it is, as opposed to what it represents. For, the power of "Salo" is to be seen in the relentless metaphor that it contains. Once one knows a couple of basic hints it becomes far easier to peel off the layers of disgust to reveal the true essence of this powerful film.
The basic characters fall into several archetypes:
1) The 4 Men: represent the fascist rule that dominated Italy during the Nazi rule. Given more power than they should have, they are content to savage the people they rule over with no respect for the humanity that they have been given control over.
2) The teens: the victims of this fascist control (the Jews of the Holocaust, the Italian people, etc.) who quickly lose all their dignity and rights under such savage treatment. Escape appears to be only a couple of steps away and seems quite easy; yet, for these individuals, it is impossible.
3) The madams: The politicians that (although not participating directly in most of the exploitation of the populace) provide the direction and desire to commit such crimes to humanity. Easily recognizable, they are just a step below the 4 men in the line of power.
4) The soldiers: the populace of Germany/Italy who allowed these atrocities to go on. Witnessing the entire situation as it escalates (much like it did in Nazi Germany), these people fall under the Nazi spell. For them, it is impossible to sympathize with individuals that have been so debased, so no guilt is felt on their part for the crimes they are involved in.
5) The piano player: the populace of Germany/Italy who allow the atrocities to go on, but eventually become aware of the horrors that they have helped cause. Inevitably, rather than direct their guilt externally to change the system, these individuals internalize it upon themselves.
6) The viewer: as an individual watching this movie, the viewer is being asked by Pasolini what side they are going to fall one: the soldier or the piano player? Are we to feel sympathy for these violated teens or are we to look at their plight with the same detached lack of interest as the soldiers?
Thus, Pasolini has created a large allegory that can be seen in today's light, as well as those of WW II. Essentially, these archetypes are applicable to most any situation in the world where individuals are being exploited...and this is Pasolini's message. As individuals outside the loop (viewers) we possess the ability to evaluate the scene and react in a way that can alleviate or enhance the scenario, it is up to us to decide.
A word about the imagery: This too is an essential aspect of "Salo;" for, in its relentless onslaught, Pasolini is trying to tell us something. Once upon a time imagery like that of the Holocaust in WWII was capable of shocking the populace of the world (as it was REAL); however, much of humanity has become desensitized to this. Pasolini is trying to offend us with the imagery of this movie in order to parallel how we SHOULD be offended by the imagery of the Holocaust. He is showing us these atrocities without "Hollywoodizing" them (try "Schindler's List" for that)...these are images we cannot deny and they are based on reality. Humanity is capable of tremendous horror and through the imagery of "Salo," Pasolini is forcing us to acknowledge a side of our species that we have lost sight of over time.
In this fashion, "Salo" is an exploration on the psychology of mass fascism. Not only are the soldiers placed under the spell due to the debasement of the people that are being exploited, but the exploited individuals are turned against themselves to continue to live (one particular scene is "Salo" articulates this perfectly). Promises of "freedom" that are never delivered also helps to keep these individuals in line. This mass psychology is evident throughout "Salo;" for, there are ample chances to attempt escape, but all are kept in line with minimal effort.
Finally, a quick word about the ending (I will keep this vague so as not to spoil it for those that have not seen it): Pasolini is telling us that, in the end, we have become so desensitized to the horrors that surround us that we are all inevitably the soldier archetype. No longer able to see the suffering that surrounds us, we are dancing right along with the 4 Men...although perhaps not directly involved, we see all that is going on and help allow it to happen through our lack of action. Pasolini is describing humanity's fate here and forcing us to confront it so that, perhaps, something can be done to change it.
This movie is one that is NOT recommended to potential viewers unless they see this movie for the imagery it represents. Contrary to what many will tell you, this movie is NOT a dark comedy and is, indeed, as dark and relentless as they come. Again, the imagery is RELENTLESS...be prepared if you decide to see this; after all, the imagery is only a fraction as disturbing as what it represents.
Hope that helps...
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Salo (The Criterion Collection) (1975)
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