"As an act of cinema, Salò goes to the extreme of propriety. It lacks taste (or: it tastes of shit) and it harbors no illusions. Its portrait of fascism-cum-sadism is merciless and unforgiving, and charged with both anger and complicity. Just as Sade wrote his infamous novel in a manic state of frustration-induced fantasy whilst imprisoned, Pasolini made his film in reaction to what he saw as capitalism?s ever-increasing power (die-hard communist that he was). But Pasolini also threw his homosexuality into this brew of elements, and his love of innocence (eternally emblematised of course by Ninetto Davoli), creating, let?s say, a very complex film... more


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