Dante’s Inferno (1935)

I was originally attracted by this film because it stars Spencer Tracy – and I’m fascinated by his early work after seeing movies like 20,000 Years in Sing Sing, which I’ve reviewed here in the past, and Man’s Castle and Riff Raff, both of which I hope to review in the future.

Spencer Tracy and Henry B Walthall

Spencer Tracy and Henry B Walthall

In this movie, directed by Harry Lachman, Tracy once again plays a tough, arrogant character who is nonetheless  more vulnerable than he at first appears. This time he is cast as a ruthless fairground worker who won’t let anyone or anything get in his way, as he rises to wealth by taking over and massively expanding a hi-tech attraction based on, you guessed it, Dante’s Inferno.

However, Tracy has nothing to do with the most striking scene in this movie – an amazing eight-minute vision of hell based on Gustav Doré’s famous illustrations to the great poem, showing the torments of the damned as they writhe in lakes of fire. I have read the poem (in translation!), and this section of the film does recall it, though the rest of the movie has little or nothing to do with Dante. It’s a stunning sequence and I find hard to imagine quite how it could have been made.   Unfortunately, it seems to be difficult to find out exactly who did make it and when.


The imdb entry for the movie directly contradicts itself, saying in its “trivia” section on the one hand that this sequence is stock footage lifted from the 1924 Henry Otto movie of the same title… and on the other that, according to a 28 July 1935 New York Times article, there were 4,950 technicians, architects, artists, carpenters, stone masons and labourers, 250 electricians and 3,000 extras in the Inferno scene. Both these accounts surely can’t be right.

I’ve searched through web pages and Google books, but failed to find a definitive answer either way. Is there anyone who has seen both the 1935 film and the obscure 1924 movie, which was thought to be lost but still exists in UCLA film and television archives, and who can confirm whether the two sequences are the same?

Assuming this footage  is indeed the silent sequence re-used, which seems quite likely given the amount of recycling of old special effects which used to take place, then it may in fact date back even further than 1924, since some accounts I’ve found of the Otto movie say that its central hell sequence is thought to be lifted from a lost German expressionist epic!

The vision of hell

The vision of hell

Getting back to Tracy, this film has the same grittiness about it which I’ve liked in other early films of his. It  also has a strong flavour of the Great Depression, with most of the characters struggling to make a living, and an atmosphere of gambling and recklessness. At the start of the film Tracy’s character, Jim Carter, is a stoker aboard a luxury liner, and furious when a society lady on the deck above laughs at him. He vows that one day he will be the one up on that deck.

After being sacked from the ship, he is soon also sacked from a fairground stall, but kindly Pop McWade (silent film star Henry B. Walthall) takes pity on him and  offers him work helping with his attraction, a down-at-heel presentation of Dante’s Inferno. Inspired by a figure of Alexander the Great in the display, Carter vows to conquer his own worlds. He is soon running the concession, as well as planning to make it bigger and better – even if it means ruining rival stallholders who get in his way.

Claire Trevor in 'Dante's Inferno'

Claire Trevor in ‘Dante’s Inferno’

Jim romances and marries Pop’s daughter, Betty (Claire Trevor), and proves to be a devoted husband and father – with a sharp contrast between his ruthless gangster-style “business” methods and his loving family life. This really reminded me of more recent presentations of gangsters like The Sopranos. Betty does seem rather naive and too inclined to believe what Jim tells her even when it’s obvious he is lying – but Trevor makes the character believable and likeable all the same.

A young Rita Hayworth as a dancer on board ship

A young Rita Hayworth as a dancer on board ship

As a result of Jim’s dog-eat-dog methods, soon one disaster is piling on top of another. At at the launch of the new improved Inferno attraction, a man he has ruined hurls himself to his death in the lake of fire – then later at a charity fundraiser the whole attraction collapses because of Jim’s refusal to consider health and safety.

Pop is trapped in the rubble and nearly dies, and, while half-asleep at his hospital bedside, Jim sees the film’s set piece vision of hell – but even that can’t stop him on the road to destruction. He goes on to create his own version of a fiery hell by setting up a floating gambling palace, which catches fire on its first night, a disaster  apparently inspired by the real-life Morro Castle tragedy. (A teenage Rita Hayworth, billed as Rita Cansino, features as a dancer aboard the cruise ship.)

When the fire breaks out, Carter has to use all the skills he learned as a stoker at the start of the film, but this time he is desperately trying to put out the fire rather than stoking it – and there are dramatic scenes where you can see him sobbing with exhaustion as he puts his own life at risk to save the ship and crew.

Tracy himself hated this film, describing it as one of the worst ever made, and parted company with Fox once production had finished. However, I think he was rather  too hard on it – since, while it may not be a masterpiece, the quality of his own acting lifts the script. The sleazy fairground setting also has a certain fascination, while the special effects, especially in that haunting vision of hell, are simply out of this  world. For anyone who wants to know more about this film, and to see some more stills of the hell sequence, here’s a link to a good blog review at The Big Whatsit, which has some interesting background information.

16 thoughts on “Dante’s Inferno (1935)

  1. Judy, I have never seen this film, I’m sorry to say. You have done an exemplary job providing a defense for a film that you later admit Tracy didn’t even care for, likening it to one of the “worst films ever made.” Tracy apparently overeacted, even if this hardly one of the most appreciated of his output. I also like the Great Depression setting (and the sleazy fairground setting that you note) and that stunning, haunting vision of hell that you offer here in that striking still. I appreciate the heads-up here of a film that few are aware of nor have seen.


    • Thanks for taking the time to read it and comment, Sam. The vision of hell in this film really is amazing, and worth a look even for people who don’t want to see the whole thing or aren’t able to get to it.


  2. Nice write-up on Dante’s Inferno! I run a tribute website on Henry B. Walthall and have a mini review of this film where praise it to the hilt. It is one of my favorite Walthall films. Pop McWade was an excellent character role for him. I haven’t seen that photo of Tracy and Walthall before. It is awesome!

    I had no idea Spencer Tracy disliked this film so much. I guess it shows what I know about films as I thought it was riveting (though I didn’t care for the long Hell scene). Actually, I really dislike another film Tracy did with Walthall called “Me And My Gal” (have you seen/reviewed that one?).

    Anyway, thanks for posting this review and that super photo!


    • Thank you, Melynie, and congratulations on your site – must admit I don’t know very much about Walthall, although I did admire his performance in ‘A Tale of Two Cities’. I really need to watch more silent films. Glad you like the photo! I haven’t seen ‘Me and My Gal’ as yet.


  3. Hi Vivian and Hazel – sorry to be slow in replying, Vivian, it has been a busy month! I saw this movie when it was shown on TCM in the UK a while back. Sadly there has been no official release as yet, but I see there are several sellers offering copies on DVD via ioffer, and it is also available from Scootermoviesshop.com. I don’t know what the quality of these copies is like, but the print on TCM was very good – it may well also turn up on the US TCM.


  4. Just adding a comment for anyone reading this piece to say that more light has been shed on the mystery of the film’s vision of hell. The Wikipedia page on this film and the Scootermoviesshop listing both say that Lachman used the footage from the older film but dressed it up with some added frames for the talkie version.


  5. Hi Judy,

    Years ago, while watching Citizen Kane, they indicated that the great cinematographer “Gregg Toland wanted to work with Welles on this movie and had done ground breaking films such Dante’s Inferno”. Ever since then, once every few years I search for this movie, which led me to your site. When I read your notes, I got thinking and then googled his name together with the movie name and the first link that came up, has the answer to your question: http://tinyurl.com/oq7f6m5 . The funny thing is that I actually own this book too, but never quite read it fully and from the looks of it Rudoph Maté made this ten minute sequence and Toland had nothing to do with it! What amazes me is the serendipity of this search. The only reason it produced the right answer is because Maté was replacing Toland on a project!

    Youtube seems to have the movie now too: https://www.youtube.com/watch?v=Mg0uVJzDp9c

    Thanks for the great site, keep it up.


  6. Thanks Judy, Trust me, it made my day too as it was a pleasant mistake. I read some Amazon comments and it appears they didn’t make a great copy, but I might buy it still. I might recommend a few of movies that you might enjoy. A silent movie called “Sunrise” http://www.imdb.com/title/tt0018455/ directed by F. W. Murnau, one of the geniuses who died way too early. You really can’t go wrong with any of his movies The second is “Razor’s Edge” from 1946 which has a special place for me and probably has the best introduction to a character enhanced by the riveting voice of Herbert Marshall, not to dismiss Gene Tierney who in one scene is stunningly beautiful and you have to pause and stare with a gaping mouth. I’ve read the book and believe it or not, for a 40’s movie, this stayed pretty much on track, the only deviation from the book is that they took out parts that he delves into the question of god. A line I kind of remember from the book and probably poorly paraphrase here, goes something like “God was so jealous of man’s ability to make a sacrifice, that in his inability, he sacrificed his only son”. Tyrone Power is sadly considered underrated, but he shows his talent here and also the following year with “Nightmare Alley”. I see that you have already reviewed “Meet John Doe”, another one of my favorites.

    I’ve started a new blog with a section for Films, but nothing as thorough as yours, but please feel free to browse. https://obzerved.wordpress.com/film/. I am updating it and hope to write a short paragraph on each as time and patience present themselves. Have a good one.


    • Thank you – I’ll look forward to reading your blog postings. I love ‘Sunrise’ and agree that Murnau was one of the greatest directors. I haven’t seen ‘Razor’s Edge’ or ‘Nightmare Alley’ as yet. I do agree that Herbert Marshall’s voice is wonderful – riveting is right.

      Must admit my review of ‘Meet John Doe’ isn’t very good and I’ve been told that I got the wrong impression of part of it – I’m now more of an admirer of Capra and have been meaning to return to the film and try to do it more justice, but haven’t managed to do as yet. Thanks again.


    • I read your John Doe analysis and I respect your opinion. I don’t think you should change it, unless you really feel different after a second screening. I love that movie for many reasons but I can see what you mean by sugary and the mindless crowd. It didn’t bother me, because many movies from this period can have this characteristic.

      My Opinon….I think Capra was trying to show that the crowd is an entity with one brain and as so beautifully demonstrated in the rain scene and in it can be so easily controlled (The Moview, Cinema Paradiso demonstrates this poetically). Its a warning really. It also wants to let the viewer know that people are generally good but we can easily become cynical as demonstrated by the Milkman talking about his deaf neighbor. I am not sure how it is in England, but here in California, what you see and hear more is that that community neighborly feeling has long disappeared and possibly only experienced during an emergency such as our lovely earthquakes. Over 30 years ago, my Philosophy teacher told us, you can live next to someone here for years and never get to know them or even say Hi….I’ve found that to be so true after moving around to at least five different locations.

      John Doe is obviously us, we all want to be rise above what we are and do some good for mankind in the end, even if it means sacrificing ourselves (you can see the Jesus connection here). You have to remember one thing, this was made in the depression era and hope was scarce and a war looming in the background, so I don’t look at his last decision as a cop-out, but giving hope a chance. To me suicide is more of a cop-out and facing life is the courageous characteristic we all need to learn and cherish. His decision with the CEOs looking on at him put hope back into the movement and glued hope back on a failing idea which basically said, together we can stand strong. Capra’s movies can frankly be blended down to a celebration of life and this was his political way of stating this.

      However, I do see how someone else can view it from another angle and it does expand my horizons to include that in my viewings and be open to seeing it. That’s what a good movie does in the end, it opens our minds for further examination as opposed to the mindless super heroes we have to deal with today!


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