In the annals of cinematic history, a trove of aborted film projects exists, and even celebrated film maestros aren't immune. These unrealized films harbor a tale, one rife with unforgettable stories. Considering their plots and conceptions, they might've become epochal masterpieces had these films been brought to fruition. Alas, we can only speculate on the appearances of these unmade works. Nevertheless, the unrealized will forever become sealed dreams.
Clouzot's "L'Enfer"
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1960, after completing "The Truth," French director Henri-Georges Clouzot commenced work on "L'Enfer." It garnered high expectations, especially with American investments, detailing the tale of a sensitive man, Paul, whose stunning wife's liaison with another man spirals him into endless suspicion and jealousy, driving him to the brink of mental collapse, leading to an irreversible tragedy.
Clouzot meticulously prepared for "L'Enfer" in 1964. Detailed visual tests on color reversal, shadows, and repeated exposures were discussed regularly at the Boulogne Studios. Columbia Pictures, the co-investor, proposed increased investment. Clouzot filmed Marcel's daily life in black and white, intending to capture Marcel's psyche in psychedelic colors. Complete storyboards were meticulously drafted, including lens selection and depth of field.
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However, troubles plagued the production. Clouzot was notorious for pressuring cast and crew, waking them in the wee hours, dictating the next day's shoots. Numerous crew members quit due to the chaotic work environment. Replacing Vittorio Reggianini, Clouzot brought in Jean-Louis Xavier Trintignant, but Trintignant left after a few days without shooting any scenes. Clouzot fell ill, culminating in a cardiac episode, halting the project at the studio's behest.
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In 2009, director Serge Bromberg's investigation unearthed fragments of the film, culminating in a documentary revealing Clouzot's kaleidoscopic vision. Claude Chabrol remade the story as "Hell" in 1994, borrowing concepts directly from Clouzot's unmade film.
Stanley Kubrick's "Napoleon"
Alfred Hitchcock's "Kaleidoscope"
In the mid-1960s, following the completion of "Marnie" and "Torn Curtain," Alfred Hitchcock's illustrious filmmaking career met a swift downfall. Attempting to rebound, he aimed to create a groundbreaking, low-budget experimental film, signaling a significant stylistic shift. He collaborated with a writer to craft a script titled "Frenzy," initially centered on a psychologically unsound patient gruesomely killing women, later renamed "Kaleidoscope."
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"Kaleidoscope" drew inspiration from the criminal tale of Neville Heath, dubbed the "baby-faced killer" for his innocent appearance and mannerisms used to lure women, nurturing maternal instincts before murdering them. Eventually, his mother assisted authorities in solving the case.
In September 1966, Universal Studios invited novelist Howard Melvin Fast to Los Angeles to collaborate with Alfred Hitchcock. Impressed by Michelangelo Antonioni's "Blow-up," Hitchcock sought to infuse the European filmmaking style into his new project, meticulously planning 450 camera setups.
The narrative revolved around Neville Heath and his exploitation of charm to lure young women into engaging in relationships before committing murder. The script unfolded with three murder sequences: one by a waterfall, another in a confined boat, and the final climax at an oil refinery, where the New York police set a trap using a young female officer to ensnare him.
However, MCA's CEO, the parent company of Universal Studios, feared the film's potential to tarnish their reputation. The project, deviating significantly from Hitchcock's prior works, was deemed excessively violent and erotic. MCA classified it as an outright project and requested Hitchcock to produce a sample segment before making a final decision. A relatively unknown cinematographer was enlisted to shoot several sections from the script in New York, resulting in an incomplete hour-long (varying reports mention 40 to 50 minutes) silent footage captured using handheld cameras and natural lighting.
Despite these efforts, the studio's stance remained unchanged. Upon reviewing the completed sample segment by autumn, MCA deemed it too violent and explicit. They argued that the protagonist was psychologically repugnant, not in line with Hitchcock's typically genteel murderers, the storyline was too experimental, and the methods were excessively unconventional. Consequently, the silent sample footage of "Kaleidoscope" remained permanently shelved in Universal's archives. Apart from a few insiders, no one could appreciate this master's alternative work. It wasn't until 1999 that snippets of the film surfaced in two documentary segments, amounting to just a few seconds in total.
"Jodorowsky's Dune"
The novel "Dune" originated in 1965 from American science fiction writer Frank Herbert's series, portraying a legendary tale of feudal dynasties on planets within the solar system engaged in deadly conflict over valuable emerging psychedelic drugs.
Alejandro Jodorowsky, then 45, initiated plans for this film. However, Hollywood showed no interest, believing that adapting the novel "Dune" into a movie was implausible. Furthermore, with the pinnacle of sci-fi films reached through Stanley Kubrick's "2001: A Space Odyssey," the genre was seemingly declining. Determined to surpass Kubrick, Jodorowsky insisted that "Jodorowsky's Dune" wouldn't replicate the realism of "2001: A Space Odyssey"; instead, it aimed to be a space opera. Initially seeking Douglas Trumbull, the visual effects director of "2001," Jodorowsky abandoned collaboration due to Trumbull's arrogance and exorbitant fees.
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In terms of music, Virgin Records reached out to Jodorowsky, proposing involvement from the prominent Michael Oldfield. Nevertheless, Jodorowsky had already lined up a collaboration with the British rock band Pink Floyd, whose lead vocalist, Roger Waters, expressed that "El Topo" was his favorite film of 1974. Despite some tense moments, they eventually agreed: Pink Floyd would compose most of the score, with additional music performed by the French rock band Magma.
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By October 1976, signs indicated the imminent collapse of "Jodorowsky's Dune." Even before filming, expenditures had already reached $2 million. The projected 180-minute runtime will exceed 14 hours. French investors decided to withdraw funding, leading to the official cancellation of the film.
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In 2013, Frank Pavich crafted a documentary titled "Jodorowsky's Dune" chronicling this tale. Aged Alejandro Jodorowsky spoke candidly to the camera, holding storyboards, showcasing a lifelong enthusiasm. Fortunately, he had visualized "Jodorowsky's Dune" text into storyboards, influencing future sci-fi movies. His poignant words, "I will die, they will film my movie," evoke a sense of melancholy.
Federico Fellini's "The Journey of G. Mastorna"
In 1969, Federico Fellini edited vast scenes constructed three years earlier for "The Journey of G. Mastorna" in the television documentary "Fellini: A Director's Notebook." This monumental, unfinished work depicted a cellist who, after surviving an emergency plane landing, discovers he's deceased. Fellini aimed to convey the dying words of his psychiatrist, Ernest Bonhard: "Fully experience the agony of death."
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The film's opening scenes were also planned: cellist Giuseppe Tornatore's plane lands amidst a massive storm on a town square. Passengers wander the streets before a bus takes them to a remote hotel. Gathered at the hotel, they witness Mastorna's life on screen. Mastorna cannot depart until the film ends, confronting his reality.
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Fellini outlined the script for the movie and convinced Italian film producer Dino De Laurentiis to support the project. In the summer of 1966, Fellini and screenwriter Dino Buzzati began scripting, and film sets started construction in the city of Dino. He desired his frequent collaborator Marcello Mastroianni to be the male lead but advised Laurentiis against finalizing contracts with actors.
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Laurentiis filed a lawsuit against Fellini for breach of contract, having invested millions of lire in the film. Ultimately, the court ruled in Fellini's favor, allowing him to withhold valuable possessions from his home and retain a significant sum earned from "Juliet of the Spirits." Despite their amicable relationship, in early 1967, they agreed to resume filming "The Journey of G. Mastorna."
However, on April 10th, Fellini lost consciousness, was rushed to the hospital, and diagnosed with acute pleurisy. After weeks in the hospital, he was transferred to a hospital in Rome for recuperation. Laurentiis arranged for American actor Paul Newman to visit, hoping to cast an American ensemble for the film. Nonetheless, Fellini abandoned the project, promising Laurentiis future collaborations to compensate for the litigation. Over the following years, Fellini contemplated bringing "The Journey of G. Mastorna" to the screen but never initiated production.
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