MOVIE DESCRIPTION
Four corrupted fascist libertines spherical up 9 teenage boys and women and field them to 120 days of sadistic physical, mental and sexual torture.
MOVIE TRAILER
YEAR
1976
ORIGINAL LANGUAGE
it,
PRODUCTION COUNTRY
France,Italy
PRODUCTION COMPANIES
Les Productions Artistes Associés,PEA
CAST
- The Duke: Paolo Bonacelli
- The Bishop: Giorgio Cataldi
- The Magistrate: Uberto Paolo Quintavalle
- The President: Aldo Valletti
- Signora Castelli: Caterina Boratto
- Signora Maggi: Elsa De Giorgi
- Signora Vaccari: Hélène Surgère
- The Pianist: Sonia Saviange
- Sergio – Male Victim: Sergio Fascetti
- Carlo Porro – Male Victim: Bruno Musso
- Tonino – Male Victim: Antonio Orlando
- Male Victim: Claudio Cicchetti
- Male Victim: Franco Merli
- Male Victim: Umberto Chessari
- Lamberto Gobbi – Male Victim: Lamberto Book
- Rino – Male Victim: Gaspare Di Jenno
- Female Victim: Giuliana Melis
- Fatimah – Female Victim: Faridah Malik
- Female Victim: Graziella Aniceto
- Female Victim: Renata Moar
- Doris – Female Victim: Dorit Henke
- Female Victim: Antiniska Nemour
- Female Victim: Benedetta Gaetani
- Eva – Female Victim: Olga Andreis
- Daughter: Tatiana Mogilansky
- Daughter: Susanna Radaelli
- Daughter: Giuliana Orlandi
- Daughter: Liana Acquaviva
- Guard: Rinaldo Missaglia
- Guard: Giuseppe Patruno
- Guard: Guido Galletti
- Guard: Efisio Etzi
- Collaborator: Claudio Troccoli
- Collaborator: Fabrizio Menichini
- Collaborator: Maurizio Valaguzza
- Collaborator: Ezio Manni
- Spouse: Paola Pieracci
- Spouse: Carla Terlizzi
- Spouse: Anna Maria Dossena
- Spouse: Anna Recchimuzzi
- The Slave Lady: Ines Pellegrini
- OVRA Officer (uncredited): Alessandro Gennari
- First Male Victim (uncredited): Marco Lucantoni
- Boys Recruiter (uncredited): Dante Trazzi
- First Female Victim (uncredited): Anna Troccoli
CREW
- Music Marketing consultant: Ennio Morricone
- Director of Photography: Tonino Delli Colli
- Production Style: Dante Ferretti
- Editor: Nino Baragli
- First Assistant Digicam: Sandro Battaglia
- Digicam Operator: Carlo Tafani
- Presenter: Alberto Grimaldi
- Creator: Pier Paolo Pasolini
- Costume Style: Danilo Donati
- Draughtsman: Maria Teresa Barbasso
- Thanks: Simone de Beauvoir
- Production Manager: Antonio Girasante
- Unit Manager: Alberto De Stefanis
- Put up Production Coordinator: Enzo Ocone
- Creator: Pupi Avati
- Creator: Sergio Citti
- Fresh: Donatien Alphonse François de Sade
- 2nd Assistant Director: Fiorella Infascelli
- Thanks: Pierre Klossowski
- Thanks: Roland Barthes
- Digicam Operator: Emilio Bestetti
- Assistant Editor: Ugo De Rossi
- Production Supervisor: Angelo Zemella
- Costume Assistant: Vanni Castellani
- First Assistant Director: Umberto Angelucci
- Sound Effects Editor: Massimo Anzellotti
- Makeup Artist: Osvaldo Desideri
- Painter: Italo Tomassi
- Makeup Artist: Alfredo Tiberi
- Publicist: Nico Naldini
- Restful Photographer: Deborah Imogen Beer
- Script Supervisor: Beatrice Banfi
- Boost Operator: Giuseppina Sagliano
- Hairstylist: Giusy Bovino
- Thanks: Philippe Sollers
- Sound Mixer: Fausto Ancillai
- Sound: Domenico Pasqua Di Bisceglie
- 2nd Assistant Digicam: Giancarlo Granatelli
- Musician: Arnaldo Graziosi
- Assistant Editor: Alfredo Menchini
- Sound: Giorgio Loviscek
- Production Supervisor: Alessandro Mattei
- Production Supervisor: Renzo David
- Administration: Maurizio Forti
- Administration: Pietro Innocenti
- Thanks: Maurice Blanchot
Credits to: TheMovieDb
Successfully you ought to hand it to Pier Paolo Pasolini – he had one hell of an creativeness. Here he devises a account of a community of nine young ladies and males folks who are apprehended by four highly efficient Fascist officials and held captive to be used in just a few of essentially the most degrading and painful video games of sex, humiliation and abuse. I used to be warned no longer to use chocolate earlier than I saw this, and against the highest of this habitual depiction of cruelty, depravity and exploitation it grew to turn out to be slightly obvious why – and I’d reiterate that here. There’s one thing profoundly desperate about the film. It has nothing even vaguely redeeming about it. Is it allegorical? Perchance Pasolini is swiping at what he perceived to be the muse of the disposable custom? Perchance the illustration of mankind at it is extra uncouth provides us his point of view on exact what humanity had turn out to be by the mid 1970s? In spite of every little thing, this is frankly slightly a disgusting film to peek and though I did feel the ending had a huge deal of correct retribution to it, I unexcited struggled to slightly gain my head around this epitome of man’s inhumanity to their hold kind. I doubt I shall ever peek it again, but it with out a doubt packed out the cinema wherein I watched it and there used to be quite a lot of engaging conversation within the bar about it afterwards…
Wow! You must perhaps perhaps’t gain away the truth that this film pushes the boundaries of annoying art! Many will call it unwell. I think the purpose of this film is extra about the depravity and dehumanization of fascism, political corruption, totalitarianism, and morality. I get no longer learn the Marquis de Sade’s work on which this film used to be essentially based fully.
**It’s no longer always seemingly to “un-be aware of” a film, so be ready if you occur to hold the abilities.** It used to be described to me as “dread” earlier than I watched it, and I’m no longer obvious it if truth be told captures the film’s model. I’m succesful of’t enlighten of a film model that adequately describes it.
I will doubtlessly by no methodology peek it again or fail to recollect the pictures it seared on my mind. Nonetheless I used to be challenged to enlighten of varied political and societal themes that are unexcited very connected on the present time.