A cinematic poet, and true original. From the earthy sacredness of Il Vangelo Secondo Matteo to the miry profanity and despair of Salo, Pasolini was also a man who used celluloid like the great masters used a fresco or canvas. Salo is powerful, but understandably divisive as to whether it is art or the basest pornography. Whichever side one takes, the film is undeniably one of the most controversial even some thirty years later which is a testament, however grim, to Pasolini’s genius and the potential power of cinema. For me, his greatest failure and most embarassing work is The Canterbury Tales. Even that film has its moments though.