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Post by morrisondylanfan on Mar 5, 2019 15:19:25 GMT
Hi all,after reading about it for years,I last night watched Inferno for the first time,and wow,what an incredible Film Noir! Saying nothing but screams and yelps for the first hour, (with narration/ inner monologue playing over the images) Robert Ryan expressed in his anguished body language the pressure Donald carries on his shoulders to survive in the wilderness. Having only seen the 2D version,I was wondering if anyone has seen the original 3D print on the big screen,and how you found it to be? Thanks.  |
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Post by Doghouse6 on Mar 5, 2019 17:32:28 GMT
Wonderfully tense film, and I was fortunate enough to see it in 3D about 25 years ago at Los Angeles's Vagabond Theater. Not the biggest screen (or house: just under 200 seats), but it worked well for a compact thriller in the process, and the prints, for the interlocked dual-projector system, were newly-struck and gorgeous.
Even though it's a visually bright and richly-Technicolored film, the "noir" application is apt from a thematic standpoint. In this way, it's similar to Bad Day At Black Rock, with both emphasizing the isolation of a lone protagonist surrounded by danger in the wide-open spaces. Like Black Rock's CinemaScope, Inferno's 3D imparts a sense of emotional claustrophobia that's accentuated by the vast and arid surroundings.
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Post by wmcclain on Mar 5, 2019 18:19:38 GMT
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Post by hitchcockthelegend on Mar 5, 2019 23:06:47 GMT
Not seen it myself so thanks for the contributions folks. Robert Ryan is the easy sell, but to get Rhonda in Technicolor is a double pulling point!
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Post by morrisondylanfan on Mar 6, 2019 0:29:56 GMT
Wonderfully tense film, and I was fortunate enough to see it in 3D about 25 years ago at Los Angeles's Vagabond Theater. Not the biggest screen (or house: just under 200 seats), but it worked well for a compact thriller in the process, and the prints, for the interlocked dual-projector system, were newly-struck and gorgeous. Even though it's a visually bright and richly-Technicolored film, the "noir" application is apt from a thematic standpoint. In this way, it's similar to Bad Day At Black Rock, with both emphasizing the isolation of a lone protagonist surrounded by danger in the wide-open spaces. Like Black Rock's CinemaScope, Inferno's 3D imparts a sense of emotional claustrophobia that's accentuated by the vast and arid surroundings. Even in the small screening room its sounds like you had a wonderful viewing Dog (I hope you ducked when Lundigan threw the chair!) After viewing,I realised that Ryan of course was only a few inches from the ground, but the makers made his long crawl in the Mojave Desert feel so intense.
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Post by morrisondylanfan on Mar 6, 2019 1:14:21 GMT
Not seen it myself so thanks for the contributions folks. Robert Ryan is the easy sell, but to get Rhonda in Technicolor is a double pulling point! This is definitely a Noir you would enjoy Spike. Along with Ryan and Rhonda, it is directed by Roy Ward Baker.
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Post by politicidal on Mar 6, 2019 1:37:03 GMT
Fox used to show it alot on television. Pretty good. Seems silly that it'd be in 3-D.
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Post by Doghouse6 on Mar 6, 2019 1:40:56 GMT
Wonderfully tense film, and I was fortunate enough to see it in 3D about 25 years ago at Los Angeles's Vagabond Theater. Not the biggest screen (or house: just under 200 seats), but it worked well for a compact thriller in the process, and the prints, for the interlocked dual-projector system, were newly-struck and gorgeous. Even though it's a visually bright and richly-Technicolored film, the "noir" application is apt from a thematic standpoint. In this way, it's similar to Bad Day At Black Rock, with both emphasizing the isolation of a lone protagonist surrounded by danger in the wide-open spaces. Like Black Rock's CinemaScope, Inferno's 3D imparts a sense of emotional claustrophobia that's accentuated by the vast and arid surroundings. Even in the small screening room its sounds like you had a wonderful viewing Dog (I hope you ducked when Lundigan threw the chair!) After viewing,I realised that Ryan of course was only a few inches from the ground, but the makers made his long crawl in the Mojave Desert feel so intense. The Vagabond was a wonderful little revival house that was run in the '70s and '80s by a guy named Tommy Cooper, who had a knack for programming (the Inferno screening was part of an extensive 3D festival), getting studios or distributors to strike new prints from the best preprint elements and coaxing personalities like Eleanor Powell, Esther Williams and Rita Hayworth to come and talk with audiences about their films. Funny thing about effects like Lundigan's chair-throwing: as often as not, performers' aims were less than perfect, and Ann Miller's tossing objects at the camera in Kiss Me Kate or Paul Picerni's hurling a mace at Charles Bronson in House Of Wax weren't as effective as they might have been (but still fun). When shooting Dial M For Murder, Hitchcock avoided gimmicky actions like those, which made moments like Grace Kelly's outstretched hand reaching for the scissors that much more arresting. The intimate scale of the Vagabond made it ideal for those films. I discovered when I saw House Of Wax at the Chinese Theater in '71 (at FILMEX, The Los Angeles International Film Exposition) that an optical side effect of the 3D systems was the illusion of reducing the screen size, making it appear like a window at the end of a room; the optimal way of seeing such a film was to sit closer to the screen than you normally would. The Vagabond's small size made that easy: there were no bad seats.
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Post by manfromplanetx on Mar 7, 2019 19:52:10 GMT
Hi there MDF Thanks for the intro Looking forward to checking out this film.
UK director Roy Ward Baker has directed some great films. A friendship with Eric Ambler led to his directorial debut The October Man (1947) It was his compelling war epic Morning Departure (1950) that drew international attention to his talents and prompted American producer Darryl Zanuck to invite him to Hollywood where made a couple of thrillers with some big name stars...
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Post by pimpinainteasy on Mar 15, 2019 6:20:24 GMT
really good stuff here. a nasty tempered millionaire is left to die in the desert by his wife and her lover, after he breaks his leg. the inner monologue of the millionaire as he crawls across the desert towards civilization is the highlight of the film. RHONDA FLEMING is very attractive and she appears in a bikini. the final realistic fight scene with a fire raging across a small desert shack was awesome. the desert and FLEMING look great in technicolor. why the hell did they abandon technicolor?
(7/10)
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Post by morrisondylanfan on Mar 16, 2019 2:21:42 GMT
Hi there MDF Thanks for the intro Looking forward to checking out this film. UK director Roy Ward Baker has directed some great films. A friendship with Eric Ambler led to his directorial debut The October Man (1947) It was his compelling war epic M orning Departure (1950) that drew international attention to his talents and prompted American producer Darryl Zanuck to invite him to Hollywood where made a couple of thrillers with some big name stars... Hi Man,I hope you are having a good weekend,and I'm sorry about the late reply (have been sorting out some offline things.) I want to say thank you bringing The October Man to attention, and with RWB, I can see from Inferno why he was seen by Hammer as being able to deliver the genre thrills,whilst also having a maturity to explore the psychological themes Nigel Kneale gave to Quatermass and the Pit (1967). Completely changing subject, the Film Annuals you mentioned in the books on cinema thread sound absolutely amazing. I was wonder which photo from the annuals sticks in your mind most? On movie books, I've just read a book I think you would enjoy: No Borders No Limits: Nikkatsu Action Cinema by Mark Schilling. 
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Post by morrisondylanfan on Mar 17, 2019 1:18:02 GMT
really good stuff here. a nasty tempered millionaire is left to die in the desert by his wife and her lover, after he breaks his leg. the inner monologue of the millionaire as he crawls across the desert towards civilization is the highlight of the film. RHONDA FLEMING is very attractive and she appears in a bikini. the final realistic fight scene with a fire raging across a small desert shack was awesome. the desert and FLEMING look great in technicolor. why the hell did they abandon technicolor? (7/10) Good to read you enjoyed it Pimpin. I agree with you on why the hell did they abandon technicolor, and with this being Fox studios joining the 3D craze late in the 50's,it is sad that when looking at all the action/ fantasy titles which have been given the 3D treatment in the 2000's,that no major studio would now fund a 3D film which did not require big-budget special effects. With lead Robert Ryan, the only other thing I've seen him in is in a good Noir (which is on TPB) called Berlin Express (1948):
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Post by Doghouse6 on Mar 17, 2019 21:07:36 GMT
pimpinainteasy & morrisondylanfan - Convenience and economy (not necessarily in that order). The legendary three-strip Technicolor "System 4" required higher intensity lighting on the set, due to the light reaching its three negatives being reduced by the spectrum-splitting prism in its specially built cameras. Developing three exposed negatives, along with the dye transfer printing process, were exacting and labor intensive, resulting in higher lab costs. Introduction of Eastman's "monopack" single color negative in the 1950s allowed use of standard cameras and lighting, and streamlined developing and printing greatly reduced costs. By the '60s, even the Technicolor Corporation itself had jumped on the bandwagon, and "Color By Technicolor" denoted only the lab facilities.
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Post by manfromplanetx on Mar 20, 2019 6:53:28 GMT
Hi there MDF Thanks for the intro Looking forward to checking out this film. Hi Man,I hope you are having a good weekend,and I'm sorry about the late reply (have been sorting out some offline things.) I want to say thank you bringing The October Man to attention, and with RWB, I can see from Inferno why he was seen by Hammer as being able to deliver the genre thrills,whilst also having a maturity to explore the psychological themes Nigel Kneale gave to Quatermass and the Pit (1967). Completely changing subject, the Film Annuals you mentioned in the books on cinema thread sound absolutely amazing. I was wonder which photo from the annuals sticks in your mind most? Hi there MDF, Many Thanks we watched and enjoyed Inferno the other night, terrific script, tense tempered with some cheesy camp, being great fans of Robert Ryan I somehow overlooked this one. You certainly have some fantastic viewing ahead having seen so little of Ryan's dynamic work. It was the first American classic film watched at our place since Oct 2017 ! It is hard to pick a favourite photo portrait, the sepia toned images jump out at you they are are so fresh and vibrant I sometimes get goose bumps checking them out. * edit here is Renee Adoree from the 1930 Picture Show Annual  The Japanese book looks like another a very interesting insight from Mark Schilling thanks...
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