I guess of the films directed by José Mojica Marins that I've seen, Inferno Carnal might be his least difficult to follow. Actually it was rather accessible when compared to his past films and has subject matter quite relatable to tales of revenge in regards to marital infidelity and attempted murder by adulterous lovers towards an innocent spouse. A scientist spends a great deal of time in his basement conducting peculiar experiments while the missus has an affair with his friend. Together they concoct a plan to kill him..throwing acid in his face and attempting to burn him alive with his test tubes and chemicals. Living through a difficult eye surgery and face reconstruction, the scientist remains devoted to his wife, hiring a man to look after her, furnishing money despite what she's doing with it..giving it directly to the lover who spends the money on booze and women gleefully. But, a series of events plague the wife and her lover, their sinful actions returning to haunt them. The lover and his philandering ways catch up to him, eventually choosing the wrong greedy floozy to flaunt money around. The wife suffering a serious injury(..after being hit by a car, thanks to surgery she's able to walk again), including a tragic decision she makes out of guilt because of her husband's continual kindness despite her actions towards him. Another development has this beautiful young woman speaking to someone who remains off screen, his silhouette indicating that it's a mystery man she loves dearly and passionately.
Unlike Marins' former works, there aren't odd, nightmarish sequences, Inferno Carnal remains grounded in realism(..well, mostly, except for the outlandish denouement revealing a startling discovery in regards to actual physical appearance)and pretty much functions as a morality tale. Surprisingly, this film would almost act as a crowd-pleaser..those who exacted an evil scheme towards an innocent man are punished. I think the most distinctive visual stylizing in this particular film would be the use of silhouette(..especially the long fingers whose shadow stretch across the body of the beautiful girl always conversing with her lover unseen by the viewer)to establish a person's presence in a room(..and before the scenes featuring the girl occur, a man's eye comes across the screen also indicating that he perhaps is that person she talks to). I will admit that the film gets a bit tedious and repetitious as the film shows a variety of hookers hopping in the sack with the scientist's wife's male lover..followed by Marins' scientist often being questioned by his hired "tag-along" about his willingness to spend money on his wife. But, ultimately, Inferno Carnal is about how payback is a bitch. Throughout the film, Marins' cries of pain from acid burns to his face, begging for his wife's help and agonizing over her actions is layered in the soundtrack in scenes featuring the scientist, strolling his premises "wearing his new face"..it's a really creepy face, too. I figure Marins' cult audience might actually find this a bit disappointing for Inferno Carnal doesn't challenge you as his others films do.
Unlike Marins' former works, there aren't odd, nightmarish sequences, Inferno Carnal remains grounded in realism(..well, mostly, except for the outlandish denouement revealing a startling discovery in regards to actual physical appearance)and pretty much functions as a morality tale. Surprisingly, this film would almost act as a crowd-pleaser..those who exacted an evil scheme towards an innocent man are punished. I think the most distinctive visual stylizing in this particular film would be the use of silhouette(..especially the long fingers whose shadow stretch across the body of the beautiful girl always conversing with her lover unseen by the viewer)to establish a person's presence in a room(..and before the scenes featuring the girl occur, a man's eye comes across the screen also indicating that he perhaps is that person she talks to). I will admit that the film gets a bit tedious and repetitious as the film shows a variety of hookers hopping in the sack with the scientist's wife's male lover..followed by Marins' scientist often being questioned by his hired "tag-along" about his willingness to spend money on his wife. But, ultimately, Inferno Carnal is about how payback is a bitch. Throughout the film, Marins' cries of pain from acid burns to his face, begging for his wife's help and agonizing over her actions is layered in the soundtrack in scenes featuring the scientist, strolling his premises "wearing his new face"..it's a really creepy face, too. I figure Marins' cult audience might actually find this a bit disappointing for Inferno Carnal doesn't challenge you as his others films do.
