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.
Dario Argento's Inferno, Feuertanz, Horror Infernal - Feuertanz der Zombies, Feuertanz - Horror Infernal, Inferno - Horror Infernal, 인페르노
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...
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.
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…
Inferno is a wacky film. I felt sort of ripped off and strung-along when the movie ended. While the film never developed a coherent story or any genuine tension, I found it impossible to turn off, hoping in vain that things would shape up into a fiery conclusion. When the fire came but made as little sense as the preceding 2 hours, I realized the scam. Inferno is all surreal imagery and expressionism, no story or real horror at all, and it’s not much fun to watch.
When you think of classic Italian Horror directors, the first name that should always come to mind is none other than the Master of Thrill/Giallo himself, Dario Argento. Without a doubt, Argento is among my favorite horror directors of all-time and his influence on the Giallo subgenre is one to be respected. With a masterpiece like Suspiria, and his other well-recognized works, Argento brought something refreshing to the horror genre, majestically blending together the goriness of a slasher flick with the eroticism of a suspenseful, atmospheric nightmare. Not only that, but Argento's movies are chocked full of visually-arresting production design and gorgeous cinematography that's far more ambitious than your usual 70s horror schlock. Inferno, a thematic sequel to Suspiria, acts…
An American college student in Rome and his sister in New York investigate a series of killings in both locations where their resident addresses are the domain of two covens of witches.
From memory: The plot is barely comprehensible, but seen as an intense, horrifying and mesmerizing dream, made with a keen eye for style, it is a quite fascinating work of art.
One of Argento's finest and most overlooked films.
Inferno is a sequel to Suspiria that does what every sequel should do: it expands the mythology of the original, making the first film feel bigger and somehow more impressive. When Suspiria was recently remade for modern audiences that film took much of its myth and lore from Inferno. In fact the Suspiria remake is essentially also a remake of Inferno.
Inferno crafts a world of mystery and suggested horror. Giving meaning and higher significance to the iconic imagery of its great sister.
It is a film where innocent adventurers swim in submerged ballrooms, where ancient orders of alchemists murder to protect their secrets, and where the world is held in the…
The true terror of Inferno is made explicitly clear by the end, moreso than Suspiria (although they share a similar driving force), that is the knowledge and acceptance of the fact that you are inhabiting a structure unfit for the needs of society. With the threat of death manifesting itself seemingly indiscriminately (old, young, male, female etc.) among the inhabitants of a New York apartment building, the intrusion of Mark (Leigh McCloskey) signals a refocusing of the story around playing with the traditional giallo conventions of murder mystery. I'm unconvinced as to how effective either of these threads are as played out but I will say that in terms of textual enjoyment, this film does in some places surpass Suspiria.…
Evolution of Horror #66
Argento you are a fucking genius.
Inferno is Dario Argento's masterpiece. For once, he abandoned the idea of a coherent storyline altogether and made a movie that is simply a series of beautifully made setpieces. Many people have criticized Inferno's plot; such people are completely missing the point. Inferno is no more concerned with plot than Luis Bunuel was with movies such as The Phantom of Liberty; where Bunuel was concentrating on images and ideas, Argento is concentrating on images and emotion, specifically fear.
Each scene features a character or characters running afoul of the Three Mothers, entities introduced obliquely in Argento's previous movie, Suspiria, and developed considerably here. The third movie in the Three…
Inferno is an okay film if the viewer knows exactly what he or she is getting into. That said, if the viewer has seen Dario Argento's previous "Three Mothers Trilogy" entry, "Suspiria," he or she will pretty much know exactly what they are getting into.
For the record, I enjoyed "Suspiria," quite a bit. The plot was paper-thin and piecemeal, but what it lacked in narrative was made up for in style. While many horror films go for a dark and often minimal approach, Suspiria was a brightly-colored, baroque attack on the senses. The film's style-over-substance approach is justified not only because it is entertaining, but also because it pays tribute to Italian "Giallo" novels (yellow-bound pulpy page-turners written in…
Chris Vandenberg 1,007 films
An update from ryno731's already impressive list from last year: more titles, more sources.
Source data can be found via…