3,5 Re-rate. Caught sight of this film recently in a manipulated video background used by NYIÞ & Wormlust during their collab act Hieros Gamos. It's a notable eulogy from Wormlust musician-cum-photographer Verði ljós who documented the prolific Icelandic black metal scene w/ decent artistry. I don't complain, still wish silents were less a matter of ritual drone and BM underground & Pordenone soared to Cannes status.
Visually arresting descent into Dante's Inferno that may focus only one part of the epic, yet the imagery is compelling and honors to the full the powers of imagination of early cinema masters. There are also occasional moments of brilliant theoretical implications about evil, like, for instance, in Ulysses' punishment for breeding disunity conveys Evil as absolute dichotomy and bifurcation.
3, though as more of a cop-out than a rating; it's not really rateable. Caught a big-screen restoration with live accompaniment by Goblin keyboardist Maurizio Guarini, which both gave (nuance; flow...) to the experience and took (simplicity; innocence...) from it. Still... intriguing, surreal, mesmerizing, ambitious.
Surely among the campest films ever. Virgil, the Monty-Pythonesque image of Lucifer, some of the naked souls hopping around, grafters changing into animals, etc.—try to see this with friends! Some memorable horror visuals and effects do show up. Saw it with Tangerine Dream synth score. Mixed blessing. Obvious inadequacy of modern English vocals, plus home-video aesthetics of opening credits, intensified surreal camp.
Tétrico cuadro sobre la obra canónica de Dante. No hay duda que lo mejor tiene que ver con el largo bestiario, almas castigadas y ambientes que convierten a este filme en un gran modelo surrealista durante la etapa silente. A nivel narrativo, el plus se encuentra en ese recreación de ciertas tragedias que el poeta escucha durante su peregrinaje.
A most gorgeous and creative vision of Dante's Inferno, if you have read the epic poem yourself then you will praise it as I do. It's imagery is near to that of Gustave Dore's illustrations, so look out for comparisons, especially near the end when Virgil and Dante meet Satan. A spectacular work of early Italian cinema, chins to Giuseppe de Liguoro.