HENRI-GEORGES CLOUZOT’S INFERNO REVIEWED
Henri-Georges Clouzot’s Inferno is yet another cancelled film. Clouzot wanted to make a movie about infidelity that tackled the subject in a non-verbal matter. But, he was approaching mature themes in the mid 1960s. While “Blow-Up” would cause the push for a mature cinema, Clouzot was striking out a little too experimental and too early. Color footage was reverse printed and to what would’ve been Black and White cinematography. If that wasn’t enough, it was an adult film in an age starting to go towards the kids.
Inferno didn’t happen for a variety of reasons. The first being you can’t sell a high-brow foreign film about sticky situations to a mid 60s US audience. The second being that the film never had a solid starting point. We get that it’s about the unspoken feelings of sexual infidelity, but what else? There is an attempt to use modern French actors to reconstruct the unshot scenes, but it doesn’t matter. The film works better as an idea rather than a final project. If that sounds amazing to you, then check it out.
- Filmed Intro
- 1.78:1 1080p transfer
- DTS-HD 5.1 master audio track
RELEASE DATE: 2/6/18
- Video - 94%94%
- Audio - 94%94%
- Special Features - 93%93%
- Film Score - 94%94%
The Plot Thus Far
In 1964, Henri-Georges Clouzot, the acclaimed director of thriller masterpieces Les Diaboliques and Wages of Fear, began work on his most ambitious film yet.
Set in a beautiful lake side resort in the Auvergne region of France, L’Enfer (Inferno) was to be a sun scorched elucidation on the dark depths of jealousy starring Romy Schneider as the harassed wife of a controlling hotel manager (Serge Reggiani). However, despite huge expectations, major studio backing and an unlimited budget, after three weeks the production collapsed under the weight of arguments, technical complications and illness.
In this compelling, award-winning documentary Serge Bromberg and Ruxandra Medrea present Inferno’s incredible expressionistic original rushes, screen tests, and on-location footage, whilst also reconstructing Clouzot’s original vision, and shedding light on the ill-fated endeavour through interviews, dramatisations of unfilmed scenes, and Clouzot’s own notes.