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.
Feuertanz, Feuertanz - Horror Infernal, Horror Infernal - Feuertanz der Zombies, Inferno - Horror Infernal, 인페르노, Dario Argento's Inferno
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…
Staircases and cracked doors and fractured glass, luminous and dangerous colors, candelabras and cats, too.
Argento with no context. In other terms, every image will haunt the inner voids of your mind for the rest of your life.
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.
Every viewing of Inferno is a pleasure! There aren't many films that make perfect sense in their own right and no sense whatsoever simultaneously. Argento's story is carried not through logic but by feeling and sound. A curious girl looks for a key; drops her keys, then finds a key in a secret flooded room under a basement. A letter is carried from New York to Rome by notes of classic music. Time forsakes logic, spanning different periods in different places. The written word is power and books on public display become justification for murder in the wrong hands. Words pump through buildings like blood through veins. Argento's brushstrokes bathe every scene in colourful beauty. It's an experience and a work of art.
I'm not real sure how to rate this one. On the one hand, it's arguably Argento's most visually satisfying movie. The wild, nightmarishly vivid colors of Suspiria make a return in this thematic (???) sequel, along with a real suspense and tension in many of the set pieces (particularly the ones in the first half) that you just don't often get with Argento.
But then there's the plot, which goes beyond "comically incoherent" and into "hallucinogenic/oh god what did I take" territory. I have to assume this is intentional, though, as not only does Inferno keep switching between ostensible protagonists, none of them ever get a clue what the hell is happening.
My favorite line of the movie comes late, with one of the villains saying to the surviving hero something like "surely you've figured out who I am by now?" And the hero just shakes his head and goes "no!"
Not Quite Hoop-Tober: Day 19
Finally, I found a Dario Argento film I'm not virtually tripping over myself trying to watch again. Inferno is the spiritual successor to Suspiria, but while they share a similar lineage this feels more like the unloved second child whose parents just weren't trying as hard. It's still an enjoyable watch—it still had good parents even if they seem less inspired—but some of the magic is missing.
It wouldn't be an Argento film if it weren't overflowing with style, and here the film definitely delivers. There's an absolutely wonderful blue and purple color palette (showcased in the poster) which elevates the hallmark almost-surrealism of all Argento's giallos. And there's another thing it's overflowing with: the…
“May I ask a strange question?”
…two lines that sum up Argento’s fantasy-fuelled follow-up to the iconic Suspiria.
This is a wonderfully nonsensical mess of surrealist horror filmmaking and undoubtedly Argento’s most misunderstood film, combining all the ingredients of his previous efforts to concoct a deliciously saturated journey into experiential terror.
If Suspiria was considered to be Argento’s blood-splattered fever dream, Inferno would be the disjointed scraps of a re-occurring nightmare that haunts your psyche for years to come…and what a beautiful nightmare it is.
A rich tapestry of sight, sound, architecture, mood, color and of course murder!
Great atmospheric film to get you in the mood for Halloween! And the lavish sets are absolutely divine!
Final Word: If the killer had a knife holder just think of all the lives that could have been saved ;-)
"But men call us by a single name..."
that ending surely made up for all the slow stuff in the middle huh
(also it's so weird for irene miracle to not be playing a bitch)
I honestly cannot explain how badly I want to live in the world of this trilogy and have every single inch of my sad little life lit up the colour of blue violets and maraschino cherries
The most shocking thing about this film to me is how willing rose is to full on dive into sewer water, also the final song goes fucking HARD
This script definitely started out as either a rejected Buffy episode or a Phantom of the Opera fanfiction.
Как будто из Суспирии высосали всю душу. Ни одной новой режиссерской находки за фильм, а сцены убийств вызывают только смех. Видно, что даже кошкам и крысам не хотелось в этом играть.
"They call us death"
Me ha gustado más que Suspiria y eso que es peor... Hay cosas un poco absurdas pero las he evitado por completo porque 1. Me encanta la dirección y los colorines jope y 2. Esta película es una maravilla vaya esta trilogía parece lo mejor del mundo y estoy asustada de que la tercera (😳😳) me decepcione que tiene pinta...
Creo que lo único que quiero resaltar en esta review es el final porque es lo que más me ha gustado :p. Ha sido súper épico I love women literalmente el speech final wow paso de tanto talento ✋🏼😔.
This starts out so wonderfully pretentiously. We think there is going to be an expression of artistic ambition, and that the glorious notion of the Mother of Sighs, the Mother of Tears, and the Mother of Darkness might mean something. We are even in a glorious old library looking for a book! We are even in a university lecture hall listening to Giuseppe Verdi!
Alas, at the thirty minute mark the book lifted from the library gets dropped on the ground and the rest of this movie shows that it has no intention of trying to live up to its intentions. The riveting woman staring in the lecture hall is just tangential. The ideas are beyond dumb. Who knew waiting…
Esse Dario é um danado viu, o cara sabe como matar os personagens dele com estilo
Very theatrical and odd.
Not entirely sure what I was supposed to get out of this film but I was really engaged and interested by the whole thing.
Some scenes felt a bit long but all in all I found myself getting lost in the strange world of this movie.
Argento at his most abstract. and shockingly it's actually a little too skeletal. Nothing really ends up falling into place, leading to an effect of not having idea why people are ending up dead, though they do still look quite good while dying. The ending gets you a little of the good old Argento ridicoulousness, but it just kind of ends up resolving weirdly, leading to a viewing experience that althought a lot fun, is also way too bare.
Argento has never been renowned for his actual stories, but Inferno just feels like its missing a framework, which is a shame, because there's plenty of little moments of brilliance thoughout. I especially like how it largely plays like a haunted…
Black hair and red lipstick; black cats and glowing eyes; old buildings with strange secrets; what's not to love?
I think the key to understanding Inferno and its seemingly disjointed narrative is the scene about a third of the way through with four identical paper dolls: one head is cut off, and we cut to a lizard eating a moth; another head is cut, and we see an unknown woman hanging; the third head cut, and we cut back to our then-protagonist—foreshadowing her death, yes, but also cluing us in to the core of the film. This isn't just about death, but about death's arbitrariness. The four dolls are identical, placing each death on equal footing. Our protagonist's death isn't…
Pretty colors over a... soap opera set.
Hungkat 238 films
Forget 'em loud BOO-ing jump scares ‘cause these deliberate-cooked horrors/thrillers will burn you up.
Kiri Kiri Kiri Kiri 💉💉💉