Notes on Saló
Hyperion, On the Future of Aesthetics, Vol XI, No 1, Summer 2018. Translation by Rainer J. Hanshe. [link to website / link to pdf file].
It is not because Saló is the last film of Pasolini that you are forced to see it as a “testament” (or a letter bomb, to open only with precaution: “No one indeed, it seems, can recover,” said Roland Barthes about this film). It is much easier to see the reconstruction of what could be, in a comparable context (Italian fascism) and a similar setting (Saló), the final attempt of masters in perdition to enjoy their power.
First published in Cahiers du Cinéma, No 268-269, July-August 1976. Reprinted in La Rampe, cahier critique 1972-1982, Cahiers du cinéma – Gallimard, 1983. The illustration is from the original edition of La Rampe. The caption reads: "A left arm in Saló by P. P. Pasolini"
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