Before tenebrae, beyond suspiria there is... Inferno
A young man returns from Rome to his sister's satanic New York apartment house.
A young man returns from Rome to his sister's satanic New York apartment house.
Overshadowed by Suspiria on the left and Tenebre on the right, Inferno is an absurd masterpiece of visual perfection. Argento’s descent into supernatural insanity is everything I could want from a film that changes main characters every 20 minutes and tosses narrative out the window—taking the the time to fuck my mind with eye popping colors in every frame of every shot. I’ve often said that one day Inferno will be my favorite Argento film, and that day may be here because I love it just as much as Suspiria.
For a movie that supposedly makes no sense, every single shot is perfectly planned to the last detail by an artist who meticulously paints every brush stroked sequence with intense beauty, and with Inferno, we’re treated to a cornucopia of lecherous madness, perversely displayed in a grandiose tapestry of absurd supernatural perfection.
Friendly reminder: Don’t fuck with Witches. Ever.
I loved absolutely everything about this movie. The burning colors! The gels! The ancient witchcult mythology! The remoteness of it. The witch with a coven of cats (of course, cats would serve the Mother of Darkness)! Glowing eyes in the night! Creeping dread in the rotting interstitial spaces! That soundtrack thundering!
Then quiet: "Hello... Hello... Hello..." The disembodied laugh! Corpses underwater. Creeping in the nightspace.
The staring woman in the musicology class with the best movie cat (sorry, Gustaf), a pile of Satanic fluff!
Giallo pushed into an ocean of dream! The black gloves into the supernatural abyss! The living dream of it! The pure dreamstuff miasma! How slow and floating and glacial like a dream. How it…
Sometimes, you see a film and wonder what the fuck took you so long. There's always an ache of regret when this happens, yet at the same time it's like restorative magick. An alchemical concoction you've had tucked away on some shelf to be stumbled upon one day. For I have now imbibed and seek the coven's embrace...
Music is such an important component of Argento's work and I wish I liked Keith Emerson's score, after Suspiria Argento wanted to continue the three mothers/witches/sisters saga but decided Inferno needed a more delicate[!!?!] score compared to the oppressive & consuming Goblin score that accompanied the mother of sighs, I'm sure he had his reasons and I'm sure it works for a lot of people but when it boils down to personal taste, it doesn't work for me.
I prefer deep, slow, low, heavy & distorted bass for the most part, I find it comforting, maybe to counteract how anxious my brain is at all times? Which is also probably why I've been self-medicating with THC for over 20 years. You're probably…
This movie is an absolute masterpiece and I’ve watched it SO MANY TIMES. Every time I watch it, different things stand out to me. At this point, I wouldn’t say “new” things because seriously, I’ve watched this A LOT. I figured for this review I would share the things that stood out on this particular visit...
When I was a kid, I used to read horror movie books all the time because we didn’t have any internet. In one of those huge books, I read about the underwater room scene and was absolutely fascinated and awed by the description and single accompanying picture. I wouldn’t see it for quite a few years later because DVD’s weren’t even around and sometimes…
"This old building is just full of secrets like that."
Freed from the constraints of a conventional plot (come on, are any of you really into Argento's plot lines anyway?), this gets right to the meat of peak Italian horror: nightmare-logic set-pieces! There's no Jessica Harper to consistently guide us through what it turns out is the real star of the movie: an imposing apartment building, the interiors nauseatingly saturated in Argento's favored purple/blue/red and angular features hovering in the foreground. Architecture and design is often prominent in Argento, but here it even takes part in the violence with killer curtains, slicing door knobs and guillotine windows. The passageways are dangerous, and the characters should know better, but they always probe and dig and pass through doors and windows and go down rabbit holes hoping to find...what? As with most dark fairy tales, it's only ever death and loss.
(Rewatched as part of Exhumed Films' "Natale Giallo" event - 35mm projection; Italian language with English subtitles)
"Inferno" is one of those films where my opinion seesaws depending on my mood, and where I am at a given point in my life. The opportunity to see it on the big screen recently was both wonderful (hey, it's on the big screen!) and awful (hey, I was sleepy and working on a headache!), and I came to the ultimate conclusion that, for all the fanfare surrounding it (mostly by the Argento faithful), it's simply not on my wavelength. I'm all for abstract cinema that adopts dreamlike logic whilst bathing the screen in abrasive color schemes and bizarre imagery (see also -…
I'm not a big fan of horror but being an “emerging” filmmaker feel that I have to know and study all the genres. Dario Argento is known as the master of Italian horror movies. He has been admired by such diverse great filmmakers as Tarrentino and Fellini. “Inferno” came right after his masterpiece “Suspiria” and in comparison is far inferior. The plot rambles on as each new character is introduced and quickly gets killed off. The acting is famously bad. The music seems like you need to have an acquired taste for. What is amazing are the sets and lighting. If for only that it was worth seeing. For contemporary eyes, I suspect that this kind of horror feels outdated. Giallo director Mario Bava staged the beginning underwater sequence for his protege and that is definitely brilliant.
Dario Argento is the master of fluorescents.
Inferno may not be as terrifying as some of Argento’s other films, but his style is on fucking point here. Visually, just a director in complete control.
Argento knew that he couldn’t build a haunted house the world could walk throw. So, he put it on screen.
A lot of people don't like this one, but I love it (not counting the obvious animal abuse, of course). But overall it's just so weird & colorful & beautiful. Every shot looks like some elaborate setup for a gorgeous stage play.
The 35mm print in which I watched yesterday had amazing freakin audio that super enhanced the film, looked great also, always thought this film was lacking somewhat in the ending tho, a bit anticlimactic
Screened fourth at Exhumed Films Holiday Party: Natale Giallo! on 35mm, in Italian with English subs.
Not leaving a rating or like as I slept on and off throughout, as has become my habit for the final film of any Exhumed marathon. What I saw was seemingly a remake of Argento's own SUSPIRIA, just with more information about what's going on. Which is kind of cool in its own way and definitely has me interested to give it my full attention. The colors are SO FUCKING POP-TARTY, I at least loved that about it. And there's an INSANE song by Godfrey Salmon on it that woke me up multiple times and now I adore it. So yeah, the bits and pieces my brain remembers are pretty awesome and I'm excited to actually watch this soon.
this movie is total eye candy but i CANNOT with that “SUS-PIR-I-UM” track chanting in the credits it’s so CHEESY
Más bien mala y más bien cutre. Diga lo que diga su creador, Suspiria es mucho mejor película. Esta es una sucesión de personajes que van muriendo de manera repentina por acción de algún tipo de fuerza paranormal por completo injustificada. No hay un protagonista claro, ni un conflicto tangible, y la propuesta estética se queda en el mero empleo de luces de colores sin, aparentemente, demasiado criterio.
Better than Suspiria imo
Rocky LaForge 18,927 films
As it reads on the tin.