As the great Teutonic philosopher Friedrich Nietzsche once wrote, “All prejudices come from the intestines.” Of course, considering that the protagonist of Salt, Saliva, Sperm and Sweat seems to have a fairly weak stomach and tends to have the most fun while barfing and defecating, one can only assume that he is prejudiced against his entire life and the world in general, hence why he lets himself die in the end in the most pathetic and passive of fashions. Indeed, the protagonist lacks the gall, self-discipline, and drive to actually commit suicide, so it ironically comes as a sort blessing in disguise when some random dirty punk degenerate senselessly shoots him, but as the great frog right-wing anarchist Louis-Ferdinand Céline once wrote regarding the dilemma of continuing to live an insufferably phony existence and committing suicide, “The worst part is wondering how you’ll find the strength tomorrow to go doing what you did today and have been doing for much too long, where you’ll find the strength for all that stupid running around, those projects that come to nothing, those attempts to escape from crushing necessity, which always founder and serve only to convince you one more time that destiny is implacable, that every night will find you down and out, crushed by the dread of more and more sordid and insecure tomorrows. And maybe it’s treacherous old age coming on, threatening the worst. Not much music left inside us for life to dance to. Our youth has gone to the ends of the earth to die in the silence of the truth. And where, I ask you, can a man escape to, when he hasn’t enough madness left inside him? The truth is an endless death agony. The truth is death. You have to choose: death or lies. I’ve never been able to kill myself.” Luckily, in the end, the protagonist of Brophy's film does not have to gather the courage or will power to off himself yet he still manages to achieve his seemingly unspoken dream of dying a bittersweet death while soaked in his own much beloved bodily fluids, thus one could argue that the film has a sort of cynic's equivalent to a happy ending. Speaking of Céline, who had an imperative influence on the Beat Movement, William S. Burroughs is indubitably one of the biggest influences behind Salt, Saliva, Sperm and Sweat, which wallows in the same sort of jovially grotesque and intricately politically correct humor that was penned by the trust-fund-sponsored junky queer literary outlaw.
Notably, in his humorously titled 2004 essay My Dreadful Failure as an Australian Filmmaker, auteur Philip Brophy wrote regarding his debut feature Body Melt, “Ten years ago, I thought it would be really fun to get the then 'Coles girl' (Lisa McCune) to drop her placenta one month prior to child birth, then have the placenta force it's way down her husband's (Brett Climo) throat while her womb explodes. I also thought it would be a barrel of monkeys to kill a whole lot of soapie stars in a feature film. I also thought people would like it. Here in Australia, they sure didn't. Body Melt had no 'hero', no 'journey', no '3-act-structure', no 'multicultural aspirations', and no condescending dismissal of bogan suburbia (very important in quality Aussie comedy). Late last year Tarantino proclaimed Body Melt 'the best Australian film of the 90's' - but hey, what would he know? David Stratton hit it better on the mark: ‘Pity.’” Since Body Melt, like a lot of so-called body horror films, tends to be a flick that people either love or love to hate, it should be no surprise that Salt, Saliva, Sperm and Sweat has suffered a similar fate in terms of obtaining a dubious reputation. Indeed, in the book Censorship: A World Encyclopedia edited by Derek Jones, Irish film professor and movie producer Dr. Rod Stoneman (who via the Irish Film Board, acted as an executive producer on Peter Mullan’s The Magdalene Sisters (2002)) noted that, aside from being heavily reedited when it was screened on British TV in 1990, Brophy’s film was found to be mighty offensive by certain Scottish college students. Indeed, as Dr. Stoneman wrote in the book, “There was, however, further controversy about SALT, SALIVA, SPERM AND SWEAT at a student seminar on censorship in Glasgow University the year after its transmission. The necessary mischief involved in pushing the boundaries of British television with such a deliberately rude and shocking piece were challenged by a student audience, who thought that the desirous look from the main character to a young boy drying himself by the fire after a bath (which had been reduced from a prolonged stare to a glancing ambiguity in the cut version) was still outrageous and unacceptable. Some young people apparently felt that child sex abuse was too serious an issue to be played with in a satire about something else.”