Dantes Inferno (1967 film)
8 /10 1 Votes
Director Ken Russell Country United Kingdom | Genre Costume drama Duration Language English | |||||||||||||||||||||||||||||||||
Release date 22 December 1967 (1967-12-22) | ||||||||||||||||||||||||||||||||||
Dante s inferno full movie gameplay and cinema scenes
Dantes Inferno: The Private Life of Dante Gabriel Rossetti, Poet and Painter (1967) is a feature-length 35mm film directed by Ken Russell and first screened on the BBC on 22 December 1967 as part of Omnibus. It quickly became a staple in cinemas in retrospectives of Russells work. It tells of the relationship between the 19th-century artist and poet Dante Gabriel Rossetti and his model, Elizabeth Siddal.
Contents
Plot
The exhumation of Lizzie Siddals desiccated body is seen, followed by a shot of Rossetti dancing among the flames of a bonfire of paintings by Reynolds and Gainsborough. A voice-over informs us that Rossetti is a founder of a revolutionary group of artists called the Pre-Raphaelite Brotherhood. The figure of the young Lizzie dressed as Joan of Arc appears above the flames.
Lizzie is seen modelling for Millais Ophelia and for a painting of Joan by Rossetti. The voice-over states that she eats little and often throws it up. She and Rossetti spend several years together while he paints and draws her, but she spurns his sexual advances, even slashing him with a needle when he presses himself on her. Rossetti turns to the more accommodating Fanny Cornforth.
Lizzie is introduced to laudanum by Emma Brown to alleviate her stomach pain. She is advised by Christina Rossetti that Dante Gabriel needs a patron. Christinas voice-over speaks her poem In an Artists Studio, about Lizzie. She tells Lizzie she looks ill. Rossetti and Christina visit William Holman Hunt, who is painting The Light of the World. Hunt asks Rossetti to look after his girlfriend Annie Miller while he is away in the Holy Land painting The Scapegoat, but Rossetti has an affair with her and Hunt spurns her on his return. John Ruskin visits Rossettis studio and shows an interest in Lizzies art.
Rossetti meets Edward Burne-Jones and William Morris in Oxford and encounters the beautiful Jane Burden. They paint the Oxford Union murals. Jane marries Morris and Rossetti marries Lizzie. Lizzie becomes increasingly hysterical due to her laudanum use and Rossettis philandering. She dies from an overdose. Rossetti buries his unpublished poems with her.
Some years later, Charles Augustus Howell persuades him to dig the poems up, but Rossetti is haunted by the image of the dead Lizzie and becomes addicted to chloral. Fanny Cornforth rescues him from a suicide attempt, but Rossetti is now increasingly obsessed with Morris wife Jane. He sleeps with her when Morris is away in Iceland, but she remains distant. Isolated, with only the loyal Fanny to care for him, Rossetti sinks further into addiction.
Cast
Inception
Russell had made an earlier film for television about the Pre-Raphaelites called Old Battersea House (1961), the success of which had drawn attention to the then-unfashionable art. Russells original intention was to make a film showing the lives and works of the three main Pre-Raphaelite painters – Rossetti, Millais and Holman Hunt — but the arrival of a script into Russells office at the BBC by Austin Frazer, solely about Rossetti, prompted Russells change of plan. He thought that a story about a man who exhumes his dead wife and then is haunted by the deed was highly dramatic and marketable. Russell cast many of his friends and used amateur actors, including the pop artist Derek Boshier as Millais and the poet Christopher Logue as Swinburne." Much of the location shooting was done in the Lake District.
Reception
Dantes Inferno???s visual style is taken mostly from the Pre-Raphaelite paintings themselves, many of which, such as Millais Ophelia are filmed in the actual locations where the paintings were created. Russell also uses imagery inspired by silent comedy and expressionist horror films.
Dantes Inferno has been described as "bit of a mess" despite moments of "inspired lunacy". Russells biographer Joseph Lanza takes the view that its moody black-and-white photography makes the locations in the English Lake District seem like Draculas Transylvania. Joseph A. Gomez argues that its chaotic appearance hides a sophisticated structure,
Perhaps on first viewing, the film may appear wildly episodic, strangely disorienting, self-indulgent, and extreme to the point of serious distortion. Yet with repeated viewings and research into Rossettis life, the viewer soon realizes that Russell, like Hamlet, is but mad north-northwest. When the wind is southerly, he, too. knows a hawk from a handsaw...Russell concentrates on what he sees as the central conflict of Rossettis life – the discrepancy between his ideals of truth, chivalry, and beauty which form the basis of his exalted vision of womanhood and what simply might be called his highly sexed nature. This emphasis, in turn, reveals Rossettis neurotic characteristics of repetitive, obsessional thoughts and feelings and further assists to justify the films structure since the content, to some degree, dictates the form.