Infierno

When Dario Argento calls "Inferno" a difficult movie, he ain't kidding. It's a feast for the eyes that's easily on par with his most acclaimed work, but also a narrative train wreck loaded with nonsense. I'd have less of a problem accepting the free-association nightmare logic of the film if Argento didn't feebly try to make it coherent (in the works of David Lynch/Cronenberg, things are far more intriguing the less they're explained). It also doesn't help that all of the characters are so thinly-defined they barely exist, and that our American lead (Leigh McCloskey) spends the film looking as confused as most viewers will be. "Inferno" is the second part of a trilogy begun by 1977's "Suspiria" (and concluded by this year's "Mother of Tears"), and in some aspects, Argento seems to be mimicking the visual (lots and lots of blue-to-red lighting schemes) and musical (Goblin is replaced by Keith Emerson) cues that made that film so successful. And while "Inferno" is punctuated by many wonderfully surreal and ambiguous setpieces (a chase through a library; a rodent feeding frenzy during a lunar eclipse; a search for keys in a submerged catacomb), the film lacks the efficiency and flow of Argento's best films, instead taking a more contemplative approach to the mythos of "The Three Mothers." While these elements make for an interesting view, the lack of a relatable human anchor ultimately keeps "Inferno" from achieving greatness.

This is a film about witches, ancient alchemy, and death. The atmosphere is Gothic and medieval. But the setting is modern. Most scenes take place in small, stylish interior spaces. For lighting, Argento uses the glow from indirect sources (mostly blue, red, and orange hues), and alternates this with darkness. In combination with the lighting, the film's sound effects, which alternate with silence, are appropriately spooky. And Keith Emerson's soundtrack, with all that organ music, contributes to the Gothic tone. One of the best parts of the entire film is the rock-opera opus from the chorus at the film's end, with that great beat, and lyrics that are indecipherable.

The nightmarish atmosphere, while maybe not quite as stunning as in "Suspiria", is more than adequate to induce suspense, anticipation, and a sense of danger. From out of the darkness and stillness comes "death", in all its horrific cruelty. As a "horror" film, "Inferno" is fairly pure, in that the plot is more or less self-contained. There are only brief references to the "real" world, outside the confines of the story.

The film's plot is indeed thin, and functions really as an excuse for the actors to move from one atmospheric set to the next. The script does not require great acting skills, mercifully, since great acting is nowhere to be found.

Of the various Argento films I have seen, "Inferno" is perhaps my least favorite. It does not have the conviction of Argento's other works. It seems more like a half-hearted sequel, an afterthought, to "Suspiria". Like most sequels, I find it less satisfying than the original, the soundtrack notwithstanding. Still, for Argento fans, "Inferno" is a must-see, if for no other reason than for purposes of comparison.

Dario Argento did some good movies back in the day. Sadly, I cannot consider this one a masterpiece. What little there is of plot feels very "mehh" and you start to feel very soon that this movie is just an excuse for Dario Argento to slap you with some red and blue while pretending that's art. Being spiritual successor to "Suspiria" you would expect a decent amount of creepy scenes, but you only get half of it, and when it starts to near to perfection, Dario blows it and it falls flat. Characters are bland and you don't really care for anybody except the final guy, which you only do because he looks cool. Also, the ending is pretty disappointing and you are like: "What just happened?". Still, it's not all that bad. That song near the end of the movie is kinda cool, there are some little disturbing moments and the movie oozes with potential. Sadly, the potential is left wasted and you just get a half baked horror movie who doesn't know what to do with itself. 6.5/10 from me! It's far from the worst thing you can watch as a horror fan, but it's a perfect fit for that "mehh" category...

Sequel to SUSPIRIA is both wonderfully lit and beautifully filmed. It is also visually very much like SUSPIRIA (which can be both good as it is dripping with atmosphere and bad as I think of it as the younger sibling who wants to be just like its older brother or sister).

One big problem I had with the film is the plot. If you have seen SUSPIRIA then you know that the villain will be a witch. Here two siblings Rose (Irene Miracle) and Mark (Leigh McCloskey) are investigating killings that are taking place only to find that a coven of witches is located in Rose's building. Okay, so the plot is not exactly non-existent, but there is not much to grab hold of at times. Some of things that take place as well in the film border on silly. Not to say that you should not see this film. As I mentioned earlier it contains lots of atmosphere that many horror films do not take the time to create. Maybe you will love it, but don't be surprised if it doesn't strike a chord like some of Dario Argento's other earlier work.

Pretty good score by prog rocker Keith Emerson. Also starring Daria Nicolodi. Followed by MOTHER OF TEARS.

Dario Argento is a filmmaker whose work is stunning and memorable. Suspiria is a beautiful vibrant work that encapsulates what an Italian horror is. In the same way Phenomena is an enthralling effort with a monumental soundtrack and horrifically beautiful visual display. I wanted to check out the rest of The Three Mothers trilogy and Inferno was the next on cue. I knew what type of film to expect and while this isn't his best film, I did enjoy experiencing it.

The film starts with a story in a book about The legend of the Three Mothers who are three evil sisters and how they live in different houses in different places. From there we immediately follow different characters as they start meeting their gruesome demise at the hands of a concealed figure. Mark is the main focus of the film, as he travels out to New York to get in touch with his missing sister. He soon learns about the legend of the Three Mothers and the violence that is occurring around him.

This is no Suspiria (or Phenomena). The characters are one dimensional, give ordinary performances. You don't have a young Jennifer Connelly or Jessica Harper to boot. The film gets a little muddled in its Three Mothers mystery. For a long time there isn't much going on besides watching different characters getting killed off slowly. I know that Argento is known for his shots and his vivid imagination of colors on screen but he is technically more style than substance. This film is the prime example of that.

With all that said I still really enjoyed this. its a joy to behold. Its pure Argento; the set pieces, the framing of the scenes, the gruesome but beautiful violence, and the pure suspense of what will happen. its quite good. It doesn't have the strength of a powerful soundtrack or a notable character but there's still beauty in it yet. I am probably going to watch the final film in the trilogy soon. I'm not expecting much because modern day Argento isn't all that (see Dracula 3D).

7/10