@CSGraves when i saw this movie all the guys were disturbing but there was always something about the one with the huge forhead that really PISSED me off

This movie makes all scary movies we know in America look like piece of cupcakes compare to this movie.

The 2007 Criterion Collection re-release does indeed have English subtitles.

@Mrleafsfan93 Do you mean the guy shown at 0:52? In the book, he probably would have been the character "Durcet", but Pasolini kind of mixed the characters of Durcet and the President to give us the Magistrate and the Presidente. The Duke and the Bishop were a little easier to point out.

The two fellas dancing to a bit o' Dixieland on the radio... "What's your girlfriend's name?"

Does the movie have english subtitles?

I don't know if Pasolini's aim was merely shock value. Hard to do any rendition of de Sade's novel without having some repellent subject matter, however.

@Mrleafsfan93 Yes, actually the same guy... the one who cracks several bizarre jokes during the film.

@SalvadorSUPER3 I think I must have taken your original comment too literally... that you were comparing Pasolini and Nazis. You're right, while Pasolini used Fascist Italy as the setting, the source material was from 17th Century France, so it's not so much the regime that's important as the timeless effects of power and corruption.

he music makes it so much creepier, and lol you can see the shit on the floor @ 0:50

@CSGraves im surprised they were allowed to show the shit eating scene, and the tongue and eye removal scenes aswell in the trailer

sick...!!!

My kids fucking love this film

@DarkXxXJack So to speak!

the trailer is amazing....just like the movie!

@SalvadorSUPER3 Sometimes you need to break the art to discuss what's beyond the limit of it.

@SalvadorSUPER3 I may have to disagree here...can a filmmaker even approach the depravity of a political movement that attempted genocide?

@runningtortoise2 I'm of the camp that finds sufficient horror in the dynamics of power misused.... the corrosive effects of having one's way too often, and the reduction of human beings to commodities for consumption. The modern political angles Pasolini tacked on, in my view, only serve to contemporize the atrocities or otherwise loan the film an academic pretext. Maybe I just see it this way because I read de Sade's 120 Days of Sodom.