IndieWire's recent list of the best films of the 1970s has caused quite a stir, placing Pier Paolo Pasolini's "Salò, or the 120 Days of Sodom" at number two. This is a bold move, especially for a film that remains so notoriously disturbing and divisive. I've always considered "Salò" a pivotal work. Its brutal depiction of power and fascism is a cinematic punch to the gut. But seeing it rank above undisputed masterpieces like "Apocalypse Now", "Chinatown", and "The Godfather" makes me wonder.
Is this a much-needed recognition of a film's artistic and historical importance, separate from its shock value?
Or is it a provocative choice that prioritizes audacious filmmaking over other seminal works of the decade?
My personal take is that while Pasolini’s audacity is undeniable, this ranking also reflects a modern critical trend to favor films that push boundaries and challenge audiences. It’s an interesting move that forces us to re-evaluate the very criteria we use to define "best."
What do you think? Is it fair for "Salò" to be considered the second-best film of such a rich cinematic decade? And which movies do you believe truly deserve the top spots? Looking forward to hearing your thoughts.
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I haven't seen a lot of the classics (they're on my watch list), but I think The Godfather deserves a top spot. The characters, the story, the writing, the directing, the details in the film, the cinematography, the music, etc. All incredible!
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Optimistically, I'd like to believe that IndieWire writer was just trying to give high praise to a movie more modern "cinephiles" should see. Even if, in actuality, they might have a more pretentious reason for putting it above films that were undeniably more impactful, every best of list is really a "favorites" list anyway, so imo, their ranking shouldn't really matter to anyone. Pasolini is one of the greatest of all time though, and Salo in particular should be revered as his magnum opus. It reflected a facet of high society so disturbing that many still believe that very same high society is what killed him for it.
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Yes Maurice Vaughan, my goal was to analyze Pasolini' s film as a dramatic escalation of narrative structure. But beyond IndieWire' s ranking, alongside The Godfather, The Godfather Part II, Jaws, Apocalypse Now, and A Clockwork Orange, Salò undoubtedly remains one of the milestones not only of Italian cinema, but also of world cinema.