Arabian Nights appeared in 1974 and was an international success; Merli got a taste for the film business. Following his debut he appeared with his hair bleached blond in Gianni Martucci's 1975 comedy
La collegiale. Perhaps surprisingly it wasn't about nudity or the degrading things he and the other actors playing the victims had to undergo in front of the camera but occurred during the scene where Merli is chosen as having the most beautiful rear. The scene calls for Franco to be shot as a "reward" for having won the contest. Reportedly the youngster suddenly went berserk when the gun was put to his head, throwing the scene. Manni says that it took quite some time to calm Merli down again and persuade him to go through with the shot as planned. According to this source, Merli also was troubled by rumours on the set that he was homosexual. He supposedly was teased by his peers because of that and consequently was on the edge during most of the shooting. Whether this is true is debatable since no other source for this fact seems to exist. In 1976, Merli appeared on-screen as Fernando, the son of
Nino Manfredi, who earns his money as a
transvestite prostitute in
Down and Dirty. This social satire by Italian director
Ettore Scola was also (but for a small part in the 1979 film
Il malato immaginario) Franco Merli's swan song as an actor. It is probable that he secured the role of Fernando thanks to his connection with Pasolini, since the director was not only a friend of Scola but was to write a foreword to the film. However, Pasolini was murdered before this came to pass. Since Merli's mentor had died and his choice of roles (or perhaps the ones he was offered) had been rather unconventional, he failed to find further work in the industry, despite his versatility as an actor with a range from pure innocence to debauchery. The fact that he had become so strongly identified as the "face" and "body" of the controversial
Salò was a contributing factor.
2006 In 2006, Franco Merli once again appeared on the big screen when
Giuseppe Bertolucci's documentary on Pasolini and the making of Salò,
Pasolini prossimo nostro (
Pasolini Next to Us), premiered at the
Venice Film Festival. Merli could be seen in still photographs and behind the screenshots by set photographer Deborah Beer as well as in the shooting of his torture scene as captured by British documentarist Gideon Bachman. The film was released on DVD in Italy in May 2007. ==Personal life and death==