While it had a sort of 'Holy Grail' of DVDs aura to it the DVD really wasn't very good. The transfer was quite bad, presenting a yellowish/greenish, damaged, interlaced blob of an image (find our screen grabs for the original release here, and find direct comparisons between the new and old Criterion releases at DVD Beaver,) lacked special features, and contained shoddy audio. I still feel it is Criterion's worst DVD (though after revisiting the W.C. Fields short films release I am somewhat reconsidering that stance.)
Now, almost nine years after pulling the original DVD Criterion has managed to reacquire the rights to Pasolini's Salo (from MGM now) and have more than made up for that awful DVD with this new two-disc set. Salo, or the 120 Days of Sodom is again presented in its original aspect ratio of 1.85:1, this time enhanced for widescreen televisions, on the first dual-layered disc. While I will try not to oversell it it's hard not to be excited about the transfer on this release since for the past nine years I've only seen the film on the older release. After throwing this in I was stunned when I saw the picture on this.
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The old Criterion release presented a very weak (maybe highly compressed) mono track, which I could only call 'detached' from the film. It didn't help at all when viewing the film, especially when paired with the awful video. Thankfully Criterion has also improved the audio quite drastically with this release. This sounds completely different.
I revisited the audio for the 2008 DVD edition and realize now I may have oversold it, but in comparison to the audio on the original DVD the new mono track on the newer DVD was absolutely incredible and I probably focused too much on how awful the mono track on the 1998 edition really was. In reality the mono track on the DVD re-issue is still a fairly flat track.
And that still carries over to this Blu-ray. The lossless linear PCM mono track found here (in Italian with a little French) is sharper than the DVD's but there's no range or fidelity, and still comes off lifeless. Its advantage, like the DVD re-issue, is that the dialogue doesn't sound detached from the film like it did with the original DVD. Since audio was recorded during post-production there are some lip-synching problems but they're actually easy to overlook.
Pasolini carefully limits our point of view. The only characters developed in detail are the inhuman libertines, all authority figures -- a nobleman, church representative, banker, etc.. The ritualized cruelties at the remote villa begin with the libertines cynically marrying each other's daughters, as an initial affront to bourgeois decency. The victims, mostly the sons and daughters of well-to-do anti-Fascists and dissidents, have been rounded up by Mussolini's secret police, with the help of the Germans. Group denial makes the victims obedient players in a game dictated by the libertine monsters. In most cases the victims passively accept whatever outrages are committed, at least until they are targeted individually.
Each night of humiliation begins with a formal gathering in the salon. Several 'hostesses', aged prostitutes and madams in beautiful hair and gowns, tell stories of sexual depravity. As in the de Sade novel, the libertines speak at length of their philosophy and explain the perverse rules that classify their captives as human garbage suitable only for degradation. Given official approval to dispose of the condemned in any way they please, they entertain their sadistic fantasies as if on a mission of self-discovery, and exult in every vile or disgusting thing their minds can imagine. The movie shows it all happening, albeit with substitutions for bodily excretions and elaborate makeup for the abominable mutilations.
Enforcing the outrages is a small corps of machine-gun toting male guards that double as homosexual partners for the libertines. The guards are swept up in the illogical death wish as well, as seen in the final chapter. Pasolini gives the audience no identification surrogates. Every individual is either a pitiless oppressor or a doomed victim. There's no sense of humor, especially not in the libertine's wretched jokes. The movie is emotionally as cold as ice. It is not by any means sexy, quite the opposite.
The clincher is that there is an audience. The libertine observers are fifty yards away, watching from behind windows. They use opera glasses to view close-ups of the worst atrocities. At that distance, with loud music playing, they can't hear the cries and screams from the arena. Death is placed at a discreet remove for the comfort of the observer -- like Television with the audio turned down. The victims can't even pretend that someone observing might save them -- they're unaware that they're providing the afternoon's entertainment. This perverse setup reminds of the accusatory horrors of Psycho or Peeping Tom, "civilized" genre movies constructed on sick ideas. Because we also are morbidly curious, because we also want to see, Pasolini implicates us in the Sadean experience. We're locked into the horrible beauty of the images, the faces of the victims in extremis and the leering, horrid faces of the libertines -- and Pasolini gives us no "out." There's nowhere else to turn, no resolution and no escape.
Figure 3. Brain activity during dual tasks in relation to the baseline dual task. Areas showing significant (Z > 2.3, cluster corrected P < 0.05) activity in relation to the ASimpVSimp dual task (simultaneous speaker-gender and font-shade discrimination task) used as the baseline. Dual tasks including the (A) auditory phonological, (B) auditory spatial, and (C) auditory simple component tasks compared with the baseline dual task. Dual tasks including the visual phonological, visual spatial and visual simple component tasks compared with the baseline dual task are shown in top, middle and bottom rows, respectively. Brain activity during the ASimpVSimp dual task in relation to brain activity during the resting periods is shown in the right bottom corner. Cortical activations are superimposed from 10 mm under the cortex on surface of rendered brain images.
Figure 4. Brain activity during dual tasks including a certain component tasks. Areas showing significant (Z > 2.3, cluster corrected P < 0.05) activity during dual tasks including (A) auditory phonological (APhonVPhon, APhonVSpat, and APhonVSimp), spatial (ASpatVPhon, ASpatVSpat, and ASpatVSimp) or simple (ASimpVPhon and ASimpVSpat) component task and (B) dual tasks including the visual phonological (APhonVPhon, ASpatVPhon, and ASimpVPhon), spatial (APhonVSpat, ASpatVSpat, and ASimpVSpat) or simple (APhonVSimp and ASpatVSimp) component task compared with ASimpVSimp, the baseline dual task.
Figure 5. Activity enhancements during dual tasks in relation to single tasks. According to conjunction analyses, the colored areas showed higher activity (Z > 2.3, cluster corrected P < 0.05) for each of the four dual tasks of the present study in relation to both its auditory component task and its visual component task when performed separately in our previous study (Salo et al., 2013).
Figure 6. Activity decrements during dual tasks in relation to single tasks. Areas showing lower activity (Z > 2.3, cluster corrected P < 0.05) during dual tasks than during the component tasks performed separately in our previous study (Salo et al., 2013). (A) Dual tasks including the auditory phonological (APhonVPhon, APhonVSpat, and APhonVSimp), spatial (ASpatVPhon, ASpatVSpat, and ASpatVSimp) or simple (ASimpVPhon, ASimpVSpat, and ASimpVSimp) component task compared with corresponding auditory component tasks (APhon, ASpat, and ASimp, respectively). (B) Dual tasks including the visual phonological (APhonVPhon, ASpatVPhon, and ASimpVPhon), spatial (APhonVSpat, ASpatVSpat, and ASimpVSpat) or simple (APhonVSimp, ASpatVSimp, and ASimpVSimp) component task compared with corresponding visual component tasks (VPhon, VSpat, and VSimp, respectively). Note that the brain images are tilted 20 to the left or right to reveal ventromedial brain areas.
Citation: Salo E, Rinne T, Salonen O and Alho K (2015) Brain activations during bimodal dual tasks depend on the nature and combination of component tasks. Front. Hum. Neurosci. 9:102. doi: 10.3389/fnhum.2015.00102
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