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What a great looking movie.

Several demons come to earth to begin plans for taking over the world. Standing in their way is Maciste a super strong good guy. The demons offer Maciste anything he wants if he will aid them however he turns them down. They eventually trick Maciste so that he ends up in hell where he proceeds to mop up the place.

If you've ever seen any of the sword and sandal films from the 1950's and 1960's with Maciste you're looking at the same character. Created in the 1913 film Cabria the do gooding muscle man has been helping the down trodden ever since. Not dressed as a muscle man, but instead as a country gentleman, Maciste's appearance may throw some people off, but rest assured its the same guy.

I love this movie. Its a great deal of fun. It looks great with demons,dragons and a giant that put most other film makers to shame (at least until the advent of computer graphics). This is an epic with thousands of demons and huge sets and great action and everything about a movie that makes you go WOW. There is a wonderful moral sense to the film that we no longer have and which adds a nice dimension to the film.

It also doesn't go in the direction you think it will which is great for those who think they've seen it all.

Silent or no, this is one of the best muscle man movies there is (trust me I've seen most of them) and is worth searching out. Even better its a damn fine movie in its own right.

See this movie or I'll send the flying demons after you.

Since I was going through some of the low-brow Italian peplums of the 50s and 60s over the Easter period, I decided to watch this Silent epic (also made in Italy) simultaneously. However, it turned out to not really be a peplum after all – despite the muscular title character (protagonist of a long-running series of films and, here, somewhat incongruously sporting modern attire – including a suit and tie!) and the fact that the Italians had actually pioneered the religious epic genre during the Silent era! That said, I guess I should have known since I had already watched Riccardo Freda's colorful but disappointing 1962 semi-remake (actually set against a 17th Century Puritan backdrop) but, there at least, Maciste is still somehow fitted with the traditional loincloth…

Anyway, to get to the movie itself: since I hadn't previously watched any of the Silent Italian epics, I didn't quite know how well it would have worn the passage of time but, surprisingly, I was left reasonably impressed by the visual splendor of the production which often evoked medieval paintings – particularly in its hellish sequences. In fact, as I watched the film, I was most reminded – as had been another viewer writing on the IMDb – of Benjamin Christensen's HAXAN (1922) and F.W. Murnau's FAUST (1926) which, I'm sure you'll agree, is high praise indeed for a film of this kind! Besides, the human form taken by the devil Barbariccia (literally "Curlybeard") and his minions evokes memories of Scapinelli, the Mephistophelean figure of "The Student Of Prague" (a German folk-tale filmed twice, at least, during the Silent era)…

The plot of the film proper – Maciste is apparently a do-gooder whose activities are giving Hell a bad name, so a devil is sent to Earth in order to tempt him; somehow, the former ends up in the underworld and, giving in to the affections of some devilish sirens, is himself turned into a hellish creature…until saved by a child's prayer on Christmas Eve! – is quaint yet curiously effective, especially given the myriad unconvincing-looking demons Maciste has to face; at one point, there's even a revolt (never fully explained, at least in the 66-minute print I watched) against Barbariccia's dominion in Hell – which is an interesting way of saying that petty jealousies and machinations, the cause of so much evil on Earth, are present in the afterlife as well!

I don't recall the 1962 film enough to make comparisons, except to say that it was an unintentional laugh-riot, but also that the plot of the later version is quite different – as it involves a reanimated witch who had been burned at the stake (in fact, it was called THE WITCH'S CURSE in the U.S.); I know, however, that I enjoyed the 'original' a good deal and am certainly interested now in seeking out more Silent spectacles from Italy – L'INFERNO (1911), THE LAST DAYS OF POMPEII (1913), CABIRIA (1914), etc.

I had not heard of this film. At my age and with all the movies I've viewed, it's surprising that it never crossed my path. I was most intrigued by how the desirability of the male form has changed over time. This guy would be considered an overweight lunk nowadays. As it is, he is admired for his strength and his morality. That's the way it should be. The filmmakers have created a real world, depicting hell in sort of a Danteesque portrayal. This man makes the ultimate sacrifice; his soul; in order to gain vengeance against Satan himself. Of course he makes some mistakes along the way, but he has a pure being and endures all that is thrown at him. The images are incredible for the time and the story is interesting. I guess this fellow was part of a canon of films that no longer exist. It's worth a shot, just to see how quickly a gifted filmmaker could begin to see the possibilities of the new technology.

with the adventure hero genre and you got an idea of this surreal and visually dazzling masterpiece. Fellini called it "one of the 10 best films ever made" and convinced him as a kid to enter the film business.

After saving a child from a Faust-like character big macho goodhearted Maciste goes to hell and fight hordes of vicious demonic creatures. It's packed with violence, humor, nudity etc. Two scenes blew me away; at one point Maciste decapitates a demon but by some impressive reverse FX the creature picks up his battered head and put it back on his shoulders, in hell there's a giant Godzilla-sized satan who eat humans like peanuts!?! The set design is incredibly impressive, the use of color tinting is pure perfection, and the devil costumes are so detailed I've never seen anything like it. The Danish Film Institute had hired a classical piano player for this ultra rare showing, and he knew what he was doin' to create the different moods of this epic.

One of greatest cinematic experiences I've ever had the pleasure of watching in a theatre!

Brignone's classic was just one of a dozen Maciste film made in Italy in the 1910s/20s, later Freda did a remake and Mario Bava was very inspired by this film to make his "Hercules In The Haunted World"

So, before Enzo Castellari, Lucio Fulci etc, we have a nutso film where muscle man Maciste is drawn to hell to be corrupted. A silent film, no less, but full of mental imagery that is worth a look.

For instance, at one point Maciste punches a guy's head clean off, only for it to land on a pitch fork, re-heal itself, then get tossed back to the headless body to be re-attached! That's good stuff right there. Also, Maciste takes a ride on a dragon at some point and meets Lucifer and other folk.

At first I thought this silent film was a bit too heavy on the text, but you've got to admire the sheer ambition in the old visionary aspects, so I've marked the film up for that. I've watched quite a few silent films recently and there's always an emphasis on spectacle that makes them worth watching. This is no exception.

Docked points for a) Not having built a time machine to get Massimo Vanni in it and b) Not having Edwige Fenech in it.

Made before the Cinecitta existed!

What an odd confection of Roman mythology and Christian fairy tale in this underworld battle, "Maciste in Hell." The film may also be illustrative of the development of a cinema with a target audience of largely boys, with an emphasis on juvenile fantasy and visual effects that extends all the way to the mainstream of "Star Wars" (1977) and, by extension, the comic-book movies that dominate today's market.

First, there are two ports of entry here that I'm familiar with, of which this film is a consequence. Directly, there's the 1914 epic "Cabiria," which introduced the Maciste character, a popular personality of Italian silent cinema. Reportedly, strongman Bartolomeo Pagano (actually, he was a stevedore before entering the movie business) starred in thirteen films as this character between 1915 and 1926, and the giant would continue past the silent era with his revival in the 1960s. "Cabiria" was also the pinnacle of the early feature-length spectacle pictures made in Italy in the early 1910s. The sets and sheer grandeur of it had a direct influence on D. W. Griffith's productions of "The Birth of a Nation" (1915) and "Intolerance" (1916).

The other influence on this is the féeries (fairy films) of Georges Méliès, the original cine-magician who practically invented children's movies, as well as popularizing the early cinema trick effects that still largely comprise the visual effects of "Maciste in Hell," namely multiple-exposure photography and stop-substitution splicing. Méliès also had a flair for theatrical set design, and the production design overall in "Maciste in Hell" is arguably more Méliès than it is "Cabiria," not least because it's simply not that big of an epic.

What the cavernous hellscape here especially reminds me of, though, is the original 1936 "Flash Gordon" serial (although it was a comic first). I could certainly see Flash riding around on a dragon, wrestling demons and trying to rescue damsels whilst often not displaying any outward sexual interest in them. As many I'm sure know, "Flash Gordon" was a major influence on "Star Wars," and this should be quite apparent to anyone who has seen both series. They're both basically chapter-play shoot-'em-up Westerns in outer space--to a large extent, what the Marvel Cinematic Universe is for today's generation.

This is otherwise what I found most dull about "Maciste in Hell." It's a simplistic battle of good and evil. Childishly so. Maciste's spell in Hell best illustrates this point. Being a living being from Earth, he can't spend more than three days in the underworld (because decrees, or something--Hades apparently having its own constitutional monarchy and government institutions). That is unless he commit the gravest sin: kissing a woman. A lot of emphasis in this picture on the dangers of female sexuality. I guess it's one way to get pre-adolescent male audiences invested in the suspense of romantic kissing. When Maciste inevitably surrenders to their feminine wiles, he's punished--now, get this--by hair growing in all sorts of odd places on his body. What a laughable puberty metaphor. He also becomes stronger, or super-strong. Essentially, he's a hairy X-Men mutant or that werewolf from the "Twilight" series, which are all silly adolescent allegories, too. I mean, c'mon, what did you think the teenage Spiderman ejaculating silk from his wrists was supposed to represent?

This isn't "Faust," as Maciste unnecessarily points out--and unflatteringly considering that F. W. Murnau's vastly superior devil-themed film, "Faust" (1926), was released around the same time. Neither is this, regardless of its Italian origins, Dante's "Inferno," which was made into one of Italy's first longer films in 1911. This is also despite the Pordenone Silent Film Festival screening what constitutes a warhorse print by comparison to the other new restorations they program ("Maciste in Hell" being restored back in 2009, as based on one from 1993, and the film already being fairly accessible, including existing in various shapes on YouTube) ostensibly in celebration of the 700th anniversary of the death of Dante Alighieri. No, this is kiddie stuff.

That's not to say it's not well made and sometimes entertaining, lackadaisical though the plot may be. Although the trick effects aren't much of anything new, some of them are pretty good and sometimes used as scene transitions. A bit with a dismembered head when Mastice first enters Hades looks good. I especially like the film-within-film visions for the underworld to watch life on Earth, although such visions, too, are a multiple-exposure trick extending back to early cinema. Their use as surveillance is relatively novel, though. The editing, especially early on, is choppy, but that's kind of refreshing compared to the snail pace of little to no scene dissection in the early Italian epics such as "Cabiria." Plus, it's evident the print is pretty beat up, with scratches and cuts and other marks flashing on screen here and there. For obvious reasons, there's considerable red tinting and pyrotechnics.

As for the underworld battle, there's the Lucifer devil trying to usurp King Pluto, although why the devil brought Maciste down there to fight on the opposing side before starting this civil war seems an enormous blunder. So, it's the old gods versus the new, the two major religions to spring from Rome (albeit both by way of the Levant). Granted, I've read that the film went through some censorship issues over its religious depictions, which reportedly delayed its release in Italy, but I'm just going off the restoration that I saw. Interesting that Roman mythology reigns supreme in Hades here, including guest appearances by the likes of Charon (not just a concierge from the "John Wick" franchise) and Minos, while Christianity seems to have decidedly taken control above, as indicated by the Christmas-theme denouement. Maciste is also decidedly a Hercules figure. Yet, in the end, "Maciste in Hell" specifically frames itself as a fairy tale, alluding to its true origins in those Méliès féeries--the worship of visions on a wall, the church of cinema.

This is one of the most amazing films I have ever seen. The scope of it's storytelling is nothing short of biblical, and I am not referring to the plot but to the size of the film. This movie was bigger than all three of the PETER JACKSON'S JRR TOLKEIN'S THE LORD OF THE RINGS: A FILM BY PETER JACKSON DIRECTED BY PETER JACKSON movies combined, when proportions to era are taken into consideration. It dwarfs pretty much anything you can think of and the only comparison I can make would be maybe cross BIRTH OF A NATION with Hieronymous Bosch's "Garden of Earthy Delights" triptych and throw in ample amounts of that brown acid the Pigman was warning everyone about on the WOODSTOCK soundtrack.

Even then it doesn't do justice to the scale of the film: Individual humans seem puny or insignificant compared to the immense sets, brimming with contorted and writhing forms of the damned, confined to hell for all eternity as if it was some huge mosh pit at a GWAR concert. As one contributor has already stated it has little in common with the "Maciste" muscle-man films of the Italian Peplum rage of 1960 - 1964 or so. Other than our hero goes around righting wrongs, fighting for the freedom of the innocent, and making all the evil, reptilian she-hellions swoon. Here he is a modern man in a vested suit but the effect is no different once the film switches gear at about the twenty minute mark when Maciste is literally thrown into the bowels of Hades, and it is not a pretty place.

Every last cultural form that has been attributed to Lucifer, Mephistopholes, Satan or the Devil finds manifestation in this film, and certain scenes do indeed appear to have been directly inspired by the visual work of classical artists like Bosh, Blake, Goya and Titian. Out of nowhere come dragons, devil men carrying pitchforks, a giant Saturn devouring his children, horned beasts of every shape & description, and a cast of thousands undulating in a sparking, smoking, simmering vision of hell that would even scare Osama Bin Laden out of his cave. Screw dropping bombs on Afganistan, bombard the bastards with videos and DVDs of this movie. They'll surrender inside of a week after seeing what fate awaits them as Legions of the Damned.

As for videos and DVDs, sadly the most common version of this movie currently available is a VHS sourced DVD print of the 65 minute English paneled version, with an arbitrary classical music score tacked on but some genuinely compelling hand tinting to the Hades segments. It is the most frenzied, out of control silent film I have ever seen: HAXAN is dreamily sonorous compared to the brimstone and riotous clamor of this movie. Some of the beginning passages have the kind of over-dramatic acting one usually associates with silent movies -- complete with a squad of mustachioed Mephistopholes' -- but once it shifts underground every scene is depicted with a kind of visual authority that will indeed take modern day viewers by surprise. It is a staggering movie filled with some of the most outrageous visuals ever filmed, and is 81 years old. Holy Moses.

10/10, and that's just for the chopped 65 minute version. Just amazing.

Out of all the popular and long running Maciste franchise, this has always been the one that got the most attention and appreciation, even now days.

I have not seen most of the other old Maciste movies, because they are basically impossible to get or view in any way now days, so I can't really comment on how this movie fits within its long running series of Italian shorts. Seems to me that every movie is different and does not only pick a different story but also tone and environment. This time the movie is really being like an horror, from the 1920's and has a very dark and moody atmosphere.

It's a movie that really reminded me of a lot of other great horror movies from its time. It mostly reminded me of the German expressionistic "Faust", by F.W. Murnau. I'm not saying that it's a rip-off in any way though and that's not even possible, considering that this movie got released actually one year earlier than "Faust". It just breaths the same sort of atmosphere and has even a bit of a similar story and characters in it.

The movie already started off wonderfully and I liked the story but then the movie even becomes better, once Maciste enters the gates of hell. The devil (or Pluto as he is called in this movie. It's an Italian movie after all) plays around with Maciste but he of course is not a person to be fooled with and soon declares war on the devil himself.

It's a real visual movie. Especially the hell-world got wonderfully created, with large sets and impressive looking make-up and costumes. The movie also uses a lot of early effects for some of the movie its evil magic, which is all good looking and impressive really.

A real great and wonderful looking Maciste movie.

9/10

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This was a film that I learned about when compiling my master list of horror films from 1925 for my Centennial Club on my podcast, Journey with a Cinephile. This intrigued me since I've seen another early horror film from Italy where they explored the work of Dante Alighieri and his Divine Comedy. This an early film incorporating in the character of Maciste as well. Other than that, I wasn't sure what we'd get here.

Synopsis: the devil takes Maciste (Bartolomeo Pagano) down to hell to corrupt and ruin his morality.

We get an early title card here stating that this story is told in 5 acts of devilry and fantasy. The first chapter is called 'Between Earth and Hell'. This starts with Maciste sending demons back to where they came from. The current king of hell is Pluto (Umberto Guarracino). He is married to Proserpina (Elena Sangro) who is his second wife. He has a daughter from his previous marriage, Luciferina (Lucia Zanussi). Pluto won the last election to be the current king over Barbariccia (Franz Sala). He isn't thrilled about this and binding his time. The other person here is Gerione (Mario Saio) who is the minister of internal affairs of hell.

It is from here that Pluto and Barbariccia come up with a plan to defeat Maciste. Demons are sent up in the guise of humans to corrupt him. They also want to spread evil across the city. There is an interesting thread here where Maciste's neighbor, Graziella (Pauline Polaire), is interested in Giorgio (Domenico Serra). I get the idea that Maciste is in love with her, but she doesn't reciprocate. It turns out that Giorgio took her innocence and she's now pregnant. He has stopped communicating with her. Maciste doesn't let this stand and pays him a visit to make him re-consider.

Then during the third act, Graziella has her baby and it is kidnapped by the demons. Maciste goes to save it. He is killed in the process and ends up in hell. It is there that Prosperina falls in love with him and wants to corrupt him. If he kisses her, whether it is of his own freewill or not, he will be damned. Barbariccia also sees his chance to overthrow Pluto and take over leadership. Maciste could be the deciding factor in who takes over, while he tries to find a way back to Earth.

That is where I'll leave my recap and introduction to the characters. Where I want to start is that I'm not shocked this film is from Italy, being that Dante was Italian. This is borrowing heavily for things that we see in hell. Plus, there are even scenes that are taken directly from Dante's Inferno from 1911. There is a section where we see the circle of hell that has frozen over with a giant Lucifer. They used aspects of that. I did smile there. Setting up the hierarchy of hell, where they have kings, government and it seems like elections are cool. There's structure to the system and I find that interesting.

Now that I've set that up, this is the third or fourth Maciste film that I've seen. From the research that I've done, this mythical character is akin to a Heracles or Sampson where the name is interchangeable. What isn't is that he's a large, muscular man who does different feats and tends to take on supernatural forces. It is interesting since this character started in film back in 1914 when he was introduced. By this point, this is the 25th film that features the character. This is a series where I don't think there's much continuity between them though. He just goes on different adventures. Pagano is the original and he has been in all the silent era ones to this point. He has a good size and look, which is all you can ask for during this time.

What impressed me is going to take me back to discussing hell. I love the visuals there. I'm guessing part of that is borrowing from the source written by Dante. It also looks like it was inspired by Gustave Doré who did an illustrated novel. I'll then pull in filmmaking and say that despite this being 100+ years old now, what they do to bring hell to life looks great. The sets have aspects of German Expressionism, which I'm also a fan of. It is nightmarish and is what I picture hell looking like. How they're able to bring it to life is great. I'd also say that the look of the devil and demons is cool. I'm not going to spoil this outside of saying that we get an evil version of Maciste. That was a good touch. This is still limited due to when it was made, but the filmmaking techniques are amazing. I'm also not sure of what soundtrack should be synced up with this, but the version I watched added a good touch and helped the atmosphere.

All that would be left is talking about the rest of the cast. I've already credited Pagano as his size fits what I would expect for the character. Guarracino works as Pluto. He is limited though along with Saio and Sala. I did like how Zanussi and Sangro fall in love with Maciste. The former is purer, despite being a demon. The latter definitely is in lust with him. That also fit. Other than that, I did like the framing story to set the stage as well as come full circle with Polaire and Serra. Everyone is over the top, but that fits the silent era.

In conclusion, this one is a bit of a hidden gem from this era in my opinion. I love taking this legendary character of Maciste, then putting him in the middle of a war in hell. Exploring elements of the Divine Comedy and the hierarchy of hell piqued my interest. The filmmaking is impressive to be from this long ago. How they bring hell to life was great. The look of the demons is as well. This won't be for everyone. If you are interested in exploring the history of horror like myself, then I'd recommend giving this a watch.

My Rating: 7 out of 10.

"Our hero Maciste saves a young child from the grips of a demon and decides to take the fight to the demon's home. Maciste travels to the depths of Hell, in order to tack down the Devil, to stop the evil from spreading across the Earth. Maciste struggles with many different perils along his trip into Hell and appears to be defeated, if not for an act of kindness from a friend," according to the DVD sleeve's synopsis.

Its Hellish netherworld scenes are the highlight of Guido Brignone's "Maciste all'inferno". The storyline doesn't seem to be very well thought out, however. While some suffer, most of Hell's denizens seem to be having a grand time. Oddly placed, Bartolomeo Pagano (as Maciste) is an incredible success in Hell; he is especially popular with the women of the underworld, who enjoy his kisses. Still, Mr. Pagano wants to return to his serene life on Earth. Who will show him the way?

***** Maciste all'inferno (10/19/25) Guido Brignone ~ Bartolomeo Pagano, Elena Sangro, Franz Sala

Arguably more than was true for anyone else in the early years of cinema save for Georges Méliès, Italian filmmakers had truly mastered very quickly an incredible sense of spectacle and artistry. We saw this even in 1911 with Milano Fillms' imaginative 'L'inferno,' and upon release in 1925 'Maciste in hell' ('Maciste all'inferno') handily confirmed it. Scarcely has the picture begun and we're treated to fabulously detailed sets and painted backgrounds, lavish costume design, and creative hair, makeup, and props. That's to say nothing of stunts and effects which look utterly terrific and rather astound as an achievement at a time before synchronized sound had even been introduced into the medium; one can quite easily allow themselves to forget that these inclusions are modest by our modern standards. We are gifted with beautiful filming locations, sharp editing and cinematography, inventive use of visuals, substantial tinting, and an outstanding cast of actors who unreservedly embrace their characters and the saga, and who wholeheartedly throw themselves into each scene in turn. It's not that this was the biggest or most grandiose title of the silent era, nor was Guido Brignone specifically innovating anything here, yet the viewing experience is stupendously rich and absorbing right from the very start simply on the basis of the imagery being presented - and it consistently remains so. Even if the feature weren't as successful in other capacities, it would be well worth remembering and celebrating even nearly 100 years later just for the stunning extravagance of the visions it gives us.

By comparison to the sights put before us, the narrative that Riccardo Artuffo whipped up initially feels more common; in some regards, this is a movie we've seen before. What we get for the majority of the length is chiefly a drama of the troubles on Earth between Maciste, his sweet neighbor Graziella, and rakish Giorgio. Adjoining these dynamics are the efforts by agents of Hell to ensnare more souls by whatever devious means are at their disposal, and of course virtuous Maciste and darling Graziella are at the top of the list. Mind you, even if that's all this flick was it would still be worthy, but lastly, amidst all these beats are scenes in the pit, the primary (but not exclusive) source of those exquisite visuals to greet us. The latter facet most particularly comes to bear in the last act as Maciste directly engages the infernal beings as the name suggests, and thus is an aspect of dark fantasy imparted - and thus is actualized what was previously mostly only a thematic air of horror. There's always a certain whimsy to the storytelling, and the tale isn't so altogether dark as to invite the sinister ambience that genre fans crave, nor giddy insidiousness, let alone meaningful feelings of thrill, chill, or repulsion. Still, the very concept at hand offers these flavors to some extent, and more so the grim imagery. Moreover, it would have taken surprisingly little for Brignone to guide the film in a more devilish direction, for while not virulent and all-consuming, I'm surprised by just how joyfully wicked 'Maciste in hell' was allowed to be: to no small degree warping a beloved character, trifling with contemporary conventional morality, and serving up visuals and a plot that elsewhere in the world would make censors apoplectic.

One might say that the picture is imbalanced in some tiny measure just for the proportions of how this spends its ninety-five minutes. However, not only are the first two-thirds very entertaining and satisfying in and of themselves, but once the story does fully shift, the remainder is so exceptionally strong, fun, engrossing that any prior concerns are pretty much just forgotten. It turns out that the quality we get right from the start really does remain consistent throughout, and I could hardly be happier with the results. I anticipated enjoying this, being enamored of both horror and the silent era and recognizing what "horror" tended to mean in those first years of the medium. And despite moderate to high expectations, still they have been well exceeded, and I'm elated by just how brilliant this century-old feature really is. I can understand how older titles don't appeal to all comers, and I'd have said the same myself at one time; for genre aficionados who seek the visceral thrill ride above all else, this may also disappoint. Yet for those who are open to all the possibilities that horror has to offer, and appreciate the long, treasured history of cinema, frankly I'm of the mind that this is quite essential. I'm delighted by how truly excellent 'Maciste in hell' is; as far as I'm concerned it deserves much more recognition, and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!

I am going to try to convince you all that love is evil... at least in this picture it is.

because of the bad projection, I saw more corpses on the screen than living creatures, but maybe it's because this movie was strong horror in its time. anyway, the story is a bit like the one we all know, the Faust dilemma.

the situation of wanting to do everything for the one we love, can bring us torment and strong agony (this movie seems to say). if you forgive the wrongs of your love, you are cursed with your own pity... really? must we always believe in God and never follow our 'humble' Devil? are there demons among us and if so, are we one of them? in fact, the simple story of this film leaves us with more questions than answers (espacially the Spartacus-like ending). the message seems to be that if we do what we believe is right for the one we love, we can be able to do terrible things, even without knowing it ourselves.

so Star Wars is right: love is the devil. you will never forget the devil in this picture. he's so cliché, but like that, we all will remember him (and the demons on the screen or in the 'war', that looks a lot like the rape scene in Flaming Creatures).

but nowadays, this picture is terrible old and the effects does not always work very well. if you want to do yourself a favor, do not see this picture.

MACISTE IN HELL is a superior silent film. It presents a magnificent representation of the swirling chaos of hell, complete with demons and lost souls.

The special effects are fantastic for a movie of this vintage. This is a pandemonium that would impress Dante himself...