30 DAYS OF FANDOR, DAY 8: HENRI-GEORGES CLOUZOT’S INFERNO (2009)

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Day 8: L’ENFER D’HENRI-GEORGES CLOUZOT
(Serge Bromberg & Ruxandra Medrea, France, 2009)

A documentary resurrecting an abandoned film project by Henri-Georges Clouzot, originally envisioned as a stylistic tour-de-force to catapult the “French Hitchcock” back to the forefront of 1960’s French cinema which was then in the throes of all things Nouvelle vague. During his frequent bouts of insomnia Clouzot formulated a story that charts a man’s descent into hallucinatory paranoia over his beautiful wife’s perceived infidelity; the sad irony is that the process of undertaking such an ambitious film ultimately led the director down a similar path, and, already prone to depression, he collapsed on set and filming never resumed. Bromberg and Medrea’s film thus navigates two linked trajectories, reconstructing the unfinished film through surviving footage and script reenactments while simultaneously piecing together the filmmaking process through interviews with original participants as well as the numerous visual experiments that took place before shooting began. To my mind, the footage that Clouzot actually managed to capture is mesmerizing: an extended scene involving Romy Schneider crisscrossing a lake on water skis while in the distance her husband (Serge Reggiani) madly sprints the walled circumference of the lake is a thrilling orchestration of physical space and oppositional movement, but admittedly the real showstoppers are the endless “screen tests” that were undertaken, encompassing everything from costume and makeup evaluations (that blue lipstick!), color checks, lingering closeups of faces and body parts, and an impressive amount of psychedelic optical experiments. But as tantalizing as all this visual material is, the inevitable question must be asked: are all of these image fragments and individual sequences more impressive on their own than they ever could have been when contextualized into an overall narrative structure? The answer, in the end, seems to be an implicit yes, the surviving artifacts evoking a magnificence that reality could not possibly have managed to ever live up to.

[Watch Henri-Georges Clouzot’s Inferno on Fandor here.]

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