DANTE'S INFERNO (1911)

1911 silent film and Italy's first full-length feature film, loosely adapted from "Inferno", the first canticle of Dante Alighieri's "Divine Comedy". 

Inferno, directed by Italian filmmakers Francesco Bertolini, Adolfo Padovan, and Giuseppe de Liguorois (contemporaries of pioneer filmmakers Méliès and Segundo de Chomón), was one of the first feature-length films ever created. This is especially significant to us because it was one of the first horror films ever shown on the big screen. Made over the course of 3 years, from 1908 to 1911, what they were able to do in those early years with special effects and very few rules is remarkable. Dante's Inferno, aka L'inferno aka Inferno, is loosely based on Alighieri's poem of the same name. Our lead, Dante (played by Salvatore Papa), is guided through the Nine Circles Of Hell, an allegory for the sins committed by humanity on Earth.

Terror Vision is presenting a new 4K restoration from surviving elements of an over 100-year-old film that was one of the first of its kind and inspired countless filmmakers through the ages.... giving us what we know and love today. This release includes a new commentary and 3 new scores created specifically for this release! The film is presented in B&W but also we have a "Red Tint" version, giving it a more hellish look. Red tints were used at the beginning of the 20th century as an anti-copy system. Red colors were more difficult to shoot and couldn’t be printed on film. This never-seen-before version was a copy of the international English version used across the world after the release of the movie in 1911. Therefore, the intertitles are in English. 

SPECIAL FEATURES:

Tinted Version of Inferno (Terror Vision’s 2024 Restoration)

Red Tint Version of Inferno (Redwood Creek 2022 Restoration)

B&W Version of Inferno (Redwood Creek 2022 Restoration / Modified by Terror Vision)

B&W Version of Inferno (Alternate Restoration/Cut)

New Score by Graveface Recording Artist HALEY 

New Score by Michael Kiker 

New Score by Laurent Pigeolet 

New Commentary by Film Historian James L Neibaur

Region Free