Alban Bargain-Villéger
Salò.
It was this laconic, almost interjective title that first caught my eye. In the stifling Parisian heat of July 2002, somewhere in the Halles neighbourhood, the poster appeared in a surreal haze. A bridal party of dejected youths, the bride and groom dressed for the occasion, the rest stark-naked, advanced, seemingly resigned to their doom. Then the subtitle appeared: “or the 120 Days of Sodom.” While Salò obviously referred to the resort town where Benito Mussolini had established the capital of his short-lived Italian Social Republic, the rest of the title did not ring a bell. I had not yet become acquainted with Sade’s masterpiece, nor was I familiar with the director, Pier Paolo Pasolini. The cost of entry was cheap, as the showing was part of a Pasolini festival, on the occasion of the eightieth anniversary of his birth. Clearly, I had no clue what I had gotten myself into, as Salò proved to be an aesthetically unpleasant experience featuring stomach-turning torture scenes and ritualistic rape. To cut a long story short, I almost threw up in the movie theatre. But I am the stubborn type, so I decided to stay until the end.
What prompted this post was not a sudden, random flashback to my first encounter with Pasolini. Rather, it sprang from a slow-evolving reflection on the seventh season of American Horror Story, entitled Cult, which aired in late 2017. Evidently, the two works differ in several ways. Conceptually speaking, one is a full-length film, and the other an 11-episode series; while Salò is a 1975 Italian production, Cult is part of an ongoing American – self-explanatorily US-centric – show. However, these works address the theme of fascism in comparable ways. First of all, both emerged in climates of political violence and instability, the Anni di piombo (Years of Lead) in Salò’s case, and of the Trump presidency in that of Cult. While one cannot easily compare the two contexts, the similar questions that they sparked in 1970s Italy and 2010s America deserve more attention on the part of historians. Secondly, the frequent, and often inappropriate bandying about of the word “fascism” in the media, popular culture, and politics, should not deter academics from studying such approximations. Just because Salò and Cult provide partial, mostly aesthetic takes on fascism, it does not mean scholars should throw the baby out with the bathwater and dismiss these works as flawed and not worthy of attention.
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In other posts, I have criticized the hackneyed argument that the “1930s” were back. Continue reading