Everybody asks me what’s my ideal wedding and well it’s actually just the disturbing marriage scene from Salo the 120 Days of Sodom.
Not the whole “sadistic aristocrats kidnapping and torturing youth” part but just the getting married in a silver silk dress with a matching floral headdress and bouquet in front of a bored nude audience in an Italian mansion/villa/castle while appearing grim and depressed. I feel like Pasolini was channeling Botticelli X Van Eyck for this film’s aesthetics.
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Tomer Hanuka, "Marquis de Sade", book cover for Penguin, dir. by Paul Buckley.
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'The Veiled Christ' Sculpture By: Giuseppe Sanmartino (1753) Location: Museo Cappella Sansevero Naples, Italy
“the folds, the finesse of the veil the beauty, and the regularity of the overall proportions” — Marquis de Sade
Giuseppe Sanmartino form a single block of marble. He made the beautiful detailed marble so transparent that it birthed the popular rumor that he placed a real veil over the sculpture and turned it to stone through alchemy.
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Hans Bellmer (1902-1975) — Love and Death (for Marquis de Sade) [pencil and white gouache on tinted paper, 1946]
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Glenda Jackson as Charlotte Corday in The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis De Sade, 1967, 1986
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Marquis de Sade, Justine, first edition, 1791. Frontispiece by Philippe Chéry. License: Public Domain.
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Quills (2000) | dir. Philip Kaufman
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Midnight Pals: Gross Out
Lor Gislason: bloop bloop time for goop
Gislason: this is the story of the sick-off
Gislason: these nurses make a bet about who can be the grossest
Gislason: and one eats poop
Gislason: so i guess i should say
Gislason: bloop bloop time for poop
Lor Gislason: bloop bloop so he eats a poop
Marquis de Sade: oh yeah i do that all the time
Poe:
King:
Koontz:
Barker:
Lovecraft:
de Sade: i said 'oh yeah i do that all the time'
Barker: yeah yeah we all heard you
de Sade: i totally do! i do!
Barker: yeah yeah marquis hold on a second
Barker: looks like a package just arrived for you
de Sade: what? huh?
de Sade: what is it?
Barker: looks like it's that attention you ordered
de Sade:
Barker: ah ha ha
de Sade: i do! i eat it all the time
Barker: sure ya do
Barker: get outta here, marquis!
Poe: that's not actually his name, clive
Barker: I don't care what his name is
Mary Shelley: sup fuckers
de Sade: mary shelley! i eat poop!
Mary Shelley: sure ya do, marquis
de Sade: i do! i really do!
Shelley: who's telling the story tonight?
de Sade: PAY ATTENTION TO MEEEE
de Sade: i do! i'll do it right now!
Shelley: yeah? you gonna prove it?
de Sade:
de Sade: um
Poe: don't encourage him, mary
Barker: no no let's see where this goes
Poe: you don't encourage him either, clive
de Sade: i do it! i do it all the time!
Shelley: no one cares, marquis
Poe: his name's not marquis, that's his title
Poe: you know, like lord byron
Shelley:
Shelley: what the fuck
Shelley: you telling me i've been calling my boyfriend by the wrong name this whole time?
Shelley: what's his real name?
Poe: george
Shelley: George!??
Shelley: that's a nerd name!
Mary Shelley: you mean to tell me i've been dating a nerd this whole time!?
Mary Shelley: i ain't getting burned again!
Mary Shelley: your name better be fuckin percy, nerd!!!!
Percy Shelley: yes dear
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Hans Bellmer (1902-1975)—Aline et Valcour [etching, aquatint, 1968]
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So was reading Simone de Beauvoir’s Must We Burn Sade? and it was mostly really interesting biographical context and analysis. It did get increasingly psychoanalytical as it went on though, until it reached the pièce de résistance:
Man you could just say anything back in the day huh.
(Note to self: be more critical in engaging with biographies and historical accounts to make sure they’re not doing psychiatric tarot-readings)
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