
Still from L’Inferno
Underground Film Series curator Richard Jermain notes why music is vital to the cinematic experience, particularly with silent films, as exemplified by 1911’s hallucinatory L’Inferno.
On October 19, Montopolis is returning to IU Cinema to do a live score of the first ever feature-length horror film L’Inferno. Based on Dante’s Divine Comedy, the stories of fear, damnation, punishment, and justice are universal, and the film itself stands the test of time. Surely, the visual feats are something to marvel at, with complex tricks of scenery and imaginative special effects that rival Gustave Doré’s original illustrations of Hell in The Divine Comedy. Yet the impact of the film will surely be due to its music.
The modern film is a reconstruction. Parts of the film have been lost at various points in its exhibition history, either as casualties of damaged film, neglected archives, or censorship of its depictions of nudity. More recent renditions have also occasioned new original scores. L’Inferno tends to invite experiments with the format of a silent film score. Since the original written score by Raffaele Caravaglios was lost, new releases have instead featured live score performances by Tangerine Dream for the 2004 restoration print and an electro-acoustic score by Italy’s own Edison Studio followed in 2011. L’Inferno was even included as a sampled snippet in Kenneth Anger’s Crowley-magick-inspired Inauguration of the Pleasure Dome (1954), for which Electric Light Orchestra’s Jeff Lyne provided music. With such radically divergent performance possibilities setting the tone for the film’s imagery, it becomes interesting to ask what exactly is the relationship between a film and its sound.
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