Directed in 1964 Henri-Georges Clouzot, L’Enfer (Inferno) was a
dark psychological study charting the mental disintegration of hotel owner
Marcel (Serge Reggiani), consumed by jealousy at the supposed infidelity of his
pretty, flirtatious wife, played by the vivacious Romy Schneider, then one of
France’s most bankable stars. Sadly, the film was never to be. Following
catastrophic delays in the production schedule, budget problems and a walk-out
after three weeks by Reggiani, already tired of the director’s endless
perfectionism, finally a heart attack suffered by Clouzot on set put paid to
the ambitious project. Noted film restorer Serge Bromberg and co-director Ruxandra Medrea
have done a wonderful job in piecing together the fragments of Clouzot’s lost
film, not least in persuading his widow, Inez, to give them access to the missing
185 reels mostly without sound.
Clouzot’s main action was shot in black and white but the real joy of this documentary lies in the extraordinary and intensely-coloured test shots that Clouzot intended to symbolise Marcel’s disintegrating mental state.Clouzot conceived a whole battery of hallucinatory effects, jarring camera angles, inspired use of mirrors and auditory distortion to launch a new way of filmmaking. Schneider is bathed in a series of kaleidoscoping lights twisting her features, two actors’ faces are morphed together, anticipating Ingmar Bergman’s Persona, and most stunningly Clouzot toyed with the idea of colour reversal, which would turn blue water blood red but required the actors to paint themselves green to retain their normal skin tone.
In the end it all proved too much. Reggiani left claiming a
nervous disorder and the production was already on the verge of collapse before
Clouzot’s fateful but thankfully non-fatal heart attack. WhetherInfernowould have become a masterpiece we
will never know – Bromberg suggests not. French film critics had already
derided Clouzot’s meticulousness as old fashioned, which may have contributed
to the director’s mental malaise.
Directed by Gia Coppola and Tracy Antonopoulos, the film stars fashion and film darlings Kirsten Dunst and Jason Schwartzman. The film borrows a lot from the styles evident in French Cinema "Nouvelle Vague".
There’s a good level of playfulness to the short, but it also shows a few other emotionally stirring incidents involving both characters. The short will screen at the Opening Ceremony’s party for its new Ace Hotel shop Saturday. And if you’re wondering about the music in the film, it’s from Jason Schwartzman’s band, Coconut Records.
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