The Hellraiser Films And Their Legacy
“The central character is a policeman who is attempting to fathom out who has killed Jay Cho. He is also trying to track down the serial killer responsible for kidnapping a child and cutting off his fingers one by one, with each digit representing a kill. Yet it is not a straightforward crime drama by any means. Its roots lie firmly in the film noir genre, a term used by French film critics of the 1940s to describe American thrillers derived from the kind of hard-boiled fiction written by Raymond Chandler, James M. Cain and Cornell Woolrich. Inferno adheres to this mode of filmmaking in several ways, not least in its overriding sense of pessimism and social malaise.Firstly, noir pictures are usually cheaply made, and the ones these critics were originally referring to were B movies. Secondly, Inferno mimics the visual style favored by so many noir films of that age, contrastive lighting being a specific example of this, used to objectify a protagonist’s psychological states of mind. In... Inferno the lighting switches from soft and warm when Thorne is with his family, to hard and cold—and even shadowy—when he is on the streets.MoreLess
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