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claudebrick
Reviews
Salò o le 120 giornate di Sodoma (1975)
One of the most in-depth films in film history...
Before viewing 'Salo,' I was told by others it is one of the grossest films I would ever see. And for most viewers, I believe that is true. I am a film writer/director and view films from a different perspective than the average. I also consider myself an intellectual. That said, on viewing the film, I was mesmerized by not only it's allegorical theme but also it's shear beauty of cinematography. For the average viewer, this is simply a cinematic story of horrible humans doing horrific things. But Pasolini is not presenting a realistic drama, he is expressing a deeper, quite poignant representation. I am not the first to say this. Many intellectuals see the film as a depiction of 1930s Italy, its fascism and the cruel legacy it left the nation's youth. Seen from this perspective, one views a totally different film, a film that presents a message as frankly and authentic as the filmmaker believes it to be himself. 'Salo' is one of many films that utilize allegory. Another much misunderstood cinematic offering is Fassbinder's 'Querelle,' based on the Jean Genet novel, equally allegorical, a study of the mind of the male sex with all it's varied characters, sexuality, self-deceit and violence within. It is truly a brilliant film. My own film 'Havana, Habana' is equally allegorical. It is the story of a spoiled American heiress who must bid farewell to her Havana play-land upon Fidel Castro's takeover, and the Cuban officer she spends the last night with who, himself, must choose between his loyalty to the old regime, or like so many of his compatriots, joining the swelling revolution. This is the surface story, but viewed from a different perspective, it is the allegorical depiction of America and it's strained relationship with its tiny neighbor Cuba. I don't recommend 'Salo' to the faint of heart nor the average film-goer. It is a rare film understood only by those who view film stories on a purely intellectual level.
The Petersburg-Cannes Express (2003)
Background on film
Based on novel by Hans Koning (writer of: 'The Revolutionary' w/John Voight; 'Death of a Schoolboy,' Euro prod.). First producer: agent Peter Rawley(had sub-par script), dropped option. Second producer: Claude Brickell (had good script). John Daly (Hemdale Prods.)wanted rights to story but forced to co-prod. w/Brickell. Daly wanted more sex in script. Daly and Brickell fell out as team and option dropped. Ten years later, Daly re-optioned story, wrote his own script w/sex. Arranged prod. in Russia. Then went to Palm Springs fest. w/finished film, got panned. Went to Cannnes to sell film. Daly never directed before and had no clue how to write or direct... his dream and he blew it. Died of cancer 6 mos. later.