Even though Pasolini's film takes us back to the last days of Fascist Italy, its message isn't dated. In the Circle of Shit, the dignitaries will succumb to their most despicable fantasies. But it does so in such an uncompromising fashion that the viewer eventually feels that he has been assaulted as much as the poor boys and girls the fascists bring to the villa. Greens, yellows and blues reveal a notably different complexion, which affects significantly the overall composure of the film. After Darfur, Rwanda, and Bosnia it is that much clearer that evil is part of human nature. . Tags: , watch Share Salo , watch Share Salo eng sub, Share Salo online ep 1, ep 2, ep 3, ep 4, watch Share Salo episode 5, episode 6, episode 7, episode 8, episode 9, episode 10, Share Salo dub drama, watch Share Salo ep 11, ep 12, ep 13, ep 14, ep 15, Share Salo ep 16, ep 17, ep 18, ep 19, ep 20, watch Share Salo ep 21, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, Share Salo english subtitle, Share Salo full , Share Salo episode final, watch Share Salo free drama online, watch online Share Salo in dramafire, dramacool, kissasian, myasiantv, hdfree, dramanice, dramatv, Share Salo asian tv, Share Salo Other Movie.
The English subtitles are also very well done, preserving the integrity of the often disturbing original Italian dialog. This is the most complete, most detailed, and most in-depth analysis of Pasolini's work I have seen, allowing one to truly immerse into the controversial personal world of the Italian director. From the close-ups studying the faces of the storytellers to the opening scenes at the villa to the horrific finale, this new high-definition transfer looks very strong. For more about Salò, or the 120 Days of Sodom and the Salò, or the 120 Days of Sodom Blu-ray release, see published by Dr. Arguably the most controversial film ever made, Pier Paolo Pasolini's Salo has finally received the kind of treatment every important film deserves. On the contrary, it is as urgent as it has ever been.
This is true to the film's original release and is not a technical fault. There isn't any contrast boosting or subtle external manipulations that I could detect either. Note: If looking for the best presentation of Piere Paolo Pasolini's Salo currently available on the market, please consider Criterion's Region-A release reviewed Presented in its original aspect ratio of 1. Sixteen beautiful boys and girls are captured and locked into a secluded villa guarded by armed soldiers. Four dignitaries, assisted by four middle-aged women, will unleash a horrific sadistic ball during which their captives will be sexually humiliated and then tortured. Note: Pasolini did not live to see Salo released theatrically.
Having been fully remastered from the original Italian negative, this brand new high-definition release is almost too good to be true. Yet behind the graphic tortures and sadistic acts Salo reveals, some believe lies a message in support of humanity; a weak, hurt and dying hope that if faced without fear evil could be defeated. Needless to say, this is a terrifically looking, natural, and surprisingly fresh presentation that I must conclude is the best looking release Salo has ever been granted. However, a small number of instances of damage on the original film elements will exhibit occasional image weave and flutter due to slight warping and sprocket wear. They will eat and then feed to others their own excrement. Violent, explicit and shocking, the film has generated more controversy during the years than any other cinematic work ever made. Here the reviewer provides a number of terrific points of view as to what transforms Salo into a disturbing film.
Its narrative and graphic imagery defy everything human beings have come to accept as human. Power, as embraced and abused by the fascists, Pasolini argues proves human kind's inability to confront its own weaknesses. Somewhere on the outskirts of Salo. Salo is an unconditional rejection of power and those who pursue it, regardless of who or what they are, or what they represent. Next is a thoughtful review by Gilbert Adair, arguably one of the best the film has ever received, which originally appeared in Monthly Film Bulletin, in September of 1979. There are terrific revelations pertaining to Pasolini's political beliefs and the manner in which his work was perceived. The entire essay is broken into days as to follow the production cycle.
Finally, there is an autobiographical essay by Geoffrey Nowell-Smith, which summarizes Pasolini's life by highlighting important events from his career as a director and outspoken poet, novelist, and controversialist. And both of these are terrific! I personally opted for the Italian track and suffice to say everything here appears to have been handled with utmost precision. Although efforts have been made to make this inserted material consistent with the overall feature, the noticeable contrast in image quality is due to the difference in source material. This being said the dialog in Salo is very easy to follow and I could not detect any disturbing hissing, cracks, or pop-ups. It is in us, waiting to be given a chance to corrupt our souls. Svet Atanasov on September 30, 2008 where this Blu-ray release scored 5. Every effort has been made to present Salo in its pristine, original form.
In addition, there are sporadic comments by the actors revealing what it means to work with the Italian director on such a controversial project. Many have claimed that Salo is a symbolic film reuniting politics with sensationalism eased by images of human degradation unseen in other films with similar agendas, but I disagree. If approached as the final work of a director disgusted with man's progress and a desperate exploration of the destructive culture of superiority and man's thirst for power, spiritual and physical, Salo does indeed succeed in forcing the viewer to seriously ponder the origin and nature of evil. Contrast is also undoubtedly superior -- a great example is the wedding sequence where the color scheme looks dramatically improved. In the Circle of Manias, the dignitaries will be aroused by erotic stories before they indulge into perverted sexual acts. No, Salo is a personal film free of political allegories and cheap sensationalism.
Obviously there has been some extensive restoration work done here as balance is very good those of you who have seen a fair share of Italian films from the same era know that a lot of these productions reveal unevenness in the audio department primarily due to the secondary overdubbing as is the quality. Next you will find an elaborate history of the censorship Salo suffered during the years in the United Kingdom. This is exactly the elaborate and complete Blu-ray release I was expecting, and suffice to say, my expectations have been convincingly met. In the Circle of Blood, the dignitaries will punish their victims according to a set of rules they have accepted. And indeed, the victims' behavior as well as their acceptance of the unspeakable perversions initiated by the fascists proves that defeat is inexorably linked to power - hence the reason why both Sade's 120 journées de Sodome and Salo culminate in horrific scenes depicting grotesque violence and self-destruction. Based on Marquis de Sade's 120 journées de Sodome, Pasolini's Salo is a film impossible to critique.
No one, not even Pasolini, could have afforded to go this far to simply propagandize a political ideology Salo isn't entirely truthful to Sade's 120 journées de Sodome either that would contradict the very message his film delivers. Unsurprisingly, throughout Salo the fascists become intoxicated with power while citing the words of Nietzsche, Klossowski, and Sade not coincidentally all writers and philosophers who have decried the existence of God. In recent years, however, it has been speculated that his death was ordered by powerful men who disliked his leftist views. The faces of evil Fascist Italy, 1944. He was killed on November 2, 1975, in Ostia, near Rome, supposedly by a male hustler. What immediately impresses is the clarity of sound.
As a result, the high-definition transfer has retained the original grainy structure present on the film negative. Its core is built on evil, despondency and humiliation impossible to rationalize, let alone critique. . . .