“In Ghostbusters II, the mayor of New York makes mention of the city being ‘sucked down into the tenth level of Hell.’” —Wikipedia
“Dante’s Inferno: Navigating the Complexities of Hell in As Above, So Below“
“These words scrawled across the walls beneath the Paris Catacombs mark the entrance to Hell for the characters in As Above, So Below. They herald in a nightmarish final act. The very same words that mark the gates to Hell in writer Dante Alighieri’s Inferno, the first part of his epic poem of Divine Comedy. Inferno tells of Dante’s journey through the nine circles of Hell, guided by the Roman poet Virgil. Their journey begins on Good Friday, and the pair emerges from Hell early on Easter morning under a starry sky. Though As Above, So Below draws from various mythologies, it’s Dante’s Inferno and its complex rendering of Hell that most closely mirrors protagonist Scarlett Marlowe’s quest, making for an atypical found footage film that offers impressively layered world-building.
[. . .]
“The only way out is down. That they descend through a well is significant. Scarlett explains the phrase ‘as above, so below’ is the key to all magic. What happens in one reality occurs in another, presenting a bizarre mirror-like symmetry to their voyage. The group begins by climbing down a well, and they end it by going down another well. In Inferno, wells play a part in getting Dante and his guide to the eighth and ninth circles. Later, Dante and Virgil finally reach the center of Hell and begin their escape by continuing downward. Dante is convinced they’re returning to Hell, only to realize gravity has changed, and they’re climbing up to the surface. Dante, half-way through his life, begins his journey spiritually lost. More than just a guide to Hell, Virgil becomes his guide to virtue and mortal. That’s mirrored in Scarlett, reckless and reeling from the loss of her father, and George, the strict rule-abiding ethical anchor. Much of George’s fear for breaking the law stems from spending time in a Turkish prison before the events of the film, which also parallel’s Virgil in that he detailed his personal trip through Hell in his poem Aeneid.” –Meagan Navarro, Bloody Disgusting, April 10, 2020
See our original post on As Above, So Below here.
Cacciaguida (2019 short film)
Cacciaguida is a 2019 short film by Davide Del Mare and produced by Lateral Film.
“Lo chiamavano così Vincenzo Casillo, perché nella Divina Commedia Cacciaguida è la figura che più di ogni altra evoca la purezza dei costumi antichi, con quella sua fusione di aspettative universali che si proiettano verso l’avvenire.
“Già a dieci anni gli somigliava molto: ovunque posasse il suo sguardo era l’immenso. Pinuccio, Masino e Cannelunga, i suoi amici di sempre, vi ritrovavano lo stesso sguardo indomito.
[. . .]
“Cacciaguida è uno spazio intimo, dove i valori più elementari eppure più indispensabili tornano ad essere legittimati: l’amicizia, il diritto alla scoperta, l’appartenenza, l’amore. Uno spazio dove non ci sono segreti, dove l’unica regola è l’autenticità.” — Marilù Ardillo, “«Cacciaguida» e la cura del sogno: La vita di Vincenzo Casillo diventa un film,” Vita (March 11, 2019)
See more about the short film, including the trailer, on Facebook and YouTube.
John Wick: Chapter Three — Parabellum (2019 film)
“Near the start of the film, John Wick: Chapter Three – Parabellum (2019), the eponymous hitman (played by Keanu Reeves) is at the New York Public Library when he is surprised by another assassin, Ernest (a cameo by Boban Marjanovic), who makes his introduction by reading a tercet from Ulysses’ speech in Inferno 26, and then mentioning Dante by name: ‘Consider your origins: / you were not made to live as brutes, / but to follow virtue and knowledge’ (Inf. 26. 118-120).” –Contributor Devin Fernandez
The Philadelphia Enquirer describes the fight scene between Reeves’s character and basketball-star-and-acting-newcomer Marjanovic as follows: “In the scene, Boban’s character is the first of what will be a hundred or so assassins who try to kill Wick, so it’s a small role but with a prominent position in the film. Reeves is the star, of course, and the outcome of the scene is never in doubt. Even so, [director Chad] Stahelski finds some (wait for it) novel ways to administer the final blow. The phrase ‘eat your words’ comes to mind.
“’He a super-nice guy. Very humble, and I remember he paid a lot of attention to detail. He really practiced his lines, and he got a lot of coaching from Keanu. This is like his first movie gig, and he’s quoting Dante’s Inferno, so it was a lot to ask. I give him credit, because that was a long day, and he really held up well and contributed.’” — Gary Thompson, “‘John Wick 3’ director talks about pairing Keanu Reeves with Sixers center Boban Marjanovic for a major fight scene,” Philadelphia Enquirer, May 10, 2019
Contributed by Carlos Devin Fernandez (University of Texas at Austin, PhD Candidate)
“CATS Review: Abandon All Hope Ye Who Enter Here” by Scott Wampler
In his review of Cats (2019), Scott Wampler titles his piece “Abandon All Hope Ye Who Enter Here” to signify the negative contents of his review. Wampler writes:
“The cats are introducing themselves, by the way, as a means for auditioning for death. We learn early on that one of them will soon be selected to die and ascend to The Heavyside Layer (which is basically the cats’ version of Heaven), and the entire movie is about finding out which of these gigantic assholes will win the Big Prize. Along the way there are pratfalls, screaming, terrible puns, bullying (again, these cats are giant dicks to each other) and a truly shocking number of crotch shots. Whatever circle of Hell this is, it’s an incredibly unpleasant place. At first it’s kind of funny – you honestly can’t believe what’s happening onscreen, that anyone would have spent roughly $100M bringing this abomination into the world – but soon enough its commitment to sensory overload becomes overwhelming. At a certain point, I felt like I was going insane.” [. . .] –Scott Wampler, Birth. Movies. Death., December 20, 2019.
Contributed by Su Ertekin-Taner (The Bolles School, ’22)
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