Trivia for
Salò o le 120 giornate di Sodoma (1975) More at IMDbPro »

• The "excrement" in the coprophagia scenes was a mixture of chocolate and orange marmalade.
  
  
• The August 1998 Criterion was removed from the market due to copyright problems. So, this version of the DVD with the "white ring around the hub" can be easily sold for 600 or more US dollars in good condition. This makes it one of, if not the most, valuable DVD in the world. Bootlegs are extremely common due to its value. Research should be done before purchasing.
  
  
• The Japanese Region 2 DVD released in 2002 contains several more production photos not seen in any extant version of the film. Among them, a girl strapped into an electric chair (presumably during the final scene) and the bodies of the victims arranged in two rows, some covered with sheets, in the courtyard.
  
  
• When the movie premiered in West-Germany in February 1976 it was confiscated by the state attorney in order to ban it. The district-court of Stuttgart classified it as pornographic and violence-praising. A few days later though the movie was permitted for entire West-Germany.
  
  
• Salò, in the title, refers to the town in Lake Garda where the film is set. Italians think of Salò as a reminder of the horrors of Benito Mussolini and his regime.
  
  
• An attempt by Sky TV to televise the full uncut version in 1991 was vetoed by the BBFC. It thus became the only film to be rejected for TV screening amongst the works submitted by Sky.
  
  
• First part of Pier Paolo Pasolini's Trilogy of Death. The subsequent two parts were never filmed because Pasolini was murdered some months after he had finished this movie. The trilogy was intended as complementary to the previous Trilogy of Life, including Il Decameron (1971), I racconti di Canterbury (1972) and Il fiore delle mille e una notte (1974).
  
  
• Excerpts from Roland Barthes's "Sade, Fourier, Loyola", Maurice Blanchot's "Lautréamont et Sade", Pierre Klossowski's "Sade, mon prochain", Philippe Sollers's "L'écriture et l'experience del limites" and Simone de Beauvoir's "Faut-il brûler Sade" are quoted throughout the movie.
  
  
• Maurizio Costanzo worked on an early version of the script.
  
  
• When Pier Paolo Pasolini was asked who is the film's audience, he said, "It's for everyone. For people like me."
  
  
• Ennio Morricone, who composed the memorable jazzy soundtrack, said he was very uncomfortable watching the movie.
  
  

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