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For most of my childhood I lived in apartments and town-homes; only during my late-toddler years did I ever live in a house. 555 Drummerhill was my only unattached residence, my only spacious backyard, and the breeding ground of my earliest curiosities.

Drummerhill was still under construction while I lived there. Ignoring my parents wishes I would constantly escape and explore its excavated cavities. One day my adventures took me far beyond the usual borders, to a lone and barren wasteland. It was a vast valley of cracked and lifeless earth; an endless void that seemed inescapable. Before my loving mother rescued me from that temporary dumping ground, my five-year-old mind believed it to be hell.

Pier Paolo Pasolini’sSalo: O Le 120 Giornate Di Sodoma” is somewhat like that hell I witnessed. However, instead of depicting the landscape, this film investigates its architects. Controversial since its release in 1975 Salo is a film about a powerful group of forties-fascists. Eager to experiment before the Allies invade, these four soulless sociopaths capture a group of innocents and escape to the Republic of Salo.

Now, I’ve seen violence and vulgarity a plenty. Coarse art is still art after all. However, depravity with the absence of a moral narrative is hard to consider artistry. The movie quickly enters through its Inferno Antechamber and spirals downwards through three demonic circles.

Though the shot selection is creative and the settings clever, the overall imagery is excruciating. It’s maniacal in every sense, and it’s hard not to accuse the director of being the same. To endure the film in its entirety is a badge of sorts I do not bear. I found it impossible to continue on mid-way through the third circle. As the second sacrilegious wedding feast began I knew I had reached my limit. I knew there would be no justice served, no moral lesson offered, and no resolution provided. I knew it would simply continue on entranced by its own evils. Thus, I grabbed my coat and left.

This is not to say that I agree with the critics who believe it should be banned. I realize that the film is a brutal reminder, a sick testament to the fact that people willing to bathe in the excrement of evil do exist. I realize that it is just a movie, and I realize it is something I never want to see again.

Being a theology major I’ve explored my own beliefs, and “Hell” has always been something I’ve struggled with. This movie reminded me of what I’ve always believed hell to be: a man-made creation beyond our backyards yet unfortunately close to our neighborhoods. View Salo at your own risk! That is this week’s closing statement for my life at the movies.


  • Jonathanleebrock

    Can’t wait to see this one!

    • Anonymous

      As I stated… watch it at your own discretion. Hope you enjoyed the piece.

  • Anonymous

    First off, very well written. I know it was hard for you to write this one.
    Second, as we discussed this was a movie I never wanted you or anyone to see. It was made for one purpose, to shock. It has no REAL point other than some metaphysical leason on humanity. It truly is evil, rank and disgusting.
    I consider it true horror when someone is given license to make a film like this.

    I recommend this film only to those with no soul

    • Anonymous

      Thank you so much for reading and commenting. Like I said, I wouldn’t recommend or watch this film again. I am nonetheless glad I’ve seen it (for lack of a better descriptive). It is like you said… void of any real depth.

  • Anonymous

    The movie sparked so much controversy the director was murdered a few weeks after is was released.

    • Anonymous

      True. I looked into how he was killed and by whom… the story remains shrouded in mystery. Thanks for checking this one out and offering up some love.

  • Chris Elliott

    This is dopeness. I cant wait to watch this brotha! I’m scurrred though ahaha.

  • http://www.facebook.com/profile.php?id=100000583209773 Sabrina Camp

    i think imma be sick :(

    • Anonymous

      Trust me… I was!!!

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