Episode 63: Salo or The 120 Days of Sodom

Special Guest: David Pendleton

Pier Paolo Pasolini's controversial, shocking, and darkly comical artsploitation flick, Salo (or The 120 Days of Sodom) is based on a work by the Marquis de Sade transplanted to fascist Italy.

We're joined this week by co-host Fräulein von B as we chat about this heartwarming tale of elite men and women making friends with the local country boys and girls.

Warning: This episode contains some frank and potentially offensive language.

Buy Salo: The 120 Days of Sodom on DVD
Read up on the Harvard Archives' Complete Pier Paolo Pasolini Series
Buy The Resurrection of the Body
In NYC? Check out the screening on 6/11/12 at the IFC Center
Join Fräulein von B at the Libertine Ball in Philadelphia

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Paolo Pasolini Salo 120 Giornate di Sodoma from Vitruvius Technologos on Vimeo.

Paolo Pasolini Salo 120 Giornate di Sodoma.


  1. "this heartwarming tale of elite men and women making friends with the local country boys and girls." That made me laugh.

    Downloaded this episode immediately as my feelings about this particular movie are pretty passionate.

  2. Great episode, as usual. Always great hearing women talking about artsplotation/trash/porn. Fräulein von B, Susie Bright, and Michelle Clifford were all super sharp and lively and full of fascinating info. Nice to see The Projection Booth bridging the sex gap in psychotronic cinema commentary.

    1. Bob,

      Thanks for the good nods. We look for great insights were we can find it! If we happen to be pushing past the usual male geek territory, that's great!


      Rob St. Mary
      co-host of "The Projection Booth"

  3. Double date = doubled eight = 16. It's a bad joke.

  4. On this episode, the fellas get to say the word, "shit" a lot - something they warned us about ahead of time. Good job too because that would've scarred me for life had I not been sufficiently prepared (as if listening to Mike White saying, "Everyone likes to spice things up in the bedroom" week after week wasn't traumatic enough!)

    But the 'naughty points' gets bumped up a few more notches with a discussion on the film with domintrix Fräulein von B! (Her expression, "I don't wanna YUCK someone else's YUM" has since entered my common parlance.)

    And there's a very interesting conversation with fancy pants programmer and Pasolini aficionado David Pendleton who does a great job of positioning Salo within the director's body of work. He argues that the film is a violent inversion of many of Pasolini's obsessions. Where such elements as storytelling and sensuality are celebrated in his 'life trilogy,' in Pasolini's final film they're turned cruel and fascistic.

    In this sense, Salo is Pasolini's cynical antithesis, a fitting way to end a career.