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
Tom Hooper should’ve gone this direction with Cats.
Overshadowed by Suspiria on the left and Tenebre on the right, Inferno is an absurd masterpiece of visual perfection. Argento’s (and Daria Nicolodi’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.
Inferno certainly lives up to its title by the time it finishes, yet despite all that, there definitely isn't that much going in this rather average and relatively unavailing supernatural horror flick.
It boasts the usual stylish visuals and gory Italian splatter associated well with director Dario Argento, which is no doubt a fine enough plus here. However, those distinct aspects don't quite overcome the key flaws in this as they become a lot more apparent through Inferno's drawn-out runtime.
It's not an entire mess by any means, but the film is on the unfortunate side of being thoroughly sluggish just about the whole through. Doesn't help that there aren't any interesting characters to boot, and its broken-up narrative structure doesn't entice on a sufficient level to reliably keep things going at a more steady pace as well.
A pretty immense disappointment, especially since this one is considered a thematic follow-up to the original Suspiria.
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.
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…
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…
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...
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.
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…
Look, I understand that this isn’t as good as Suspiria. It’s the quiet, contemplative Suspiria even though there’s a part where a guy tries to drown a bag of cats and gets just absolutely wrecked by rats and shouts “Rats are eating me!” before getting killed by a butcher who has nothing to do with anything else in the movie and just seemed excited to get to kill somebody. (New York City, baby. Best town in da woild.) If you simply compare it to a less exciting movie than Suspiria suddenly it becomes great. Those reds and purples are starting to look real good when you compare this to The Burning. Easy. If this is what your whiffs look like,…
"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.
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!"
alguem tem zap das mater?
It’s hard to say if this is Argento’s best movie or just one of his best. I lean towards the second. But either way, I recommend this film to every genre nerd out there.
shoutout to the gurdjieff building
First of love that the palette for this film is the bisexual flag colors. Again, another winner from Dario Argento that gets better and better with every view. Controversially I would say this is a greater venture than Suspiria! Onto Profundo Rosso next!
What a weird and wonderful masterpiece. Argento and Nicolodi at their best.
4/5 apesar da história completamente desengonçada
faltou um roteiro, tem pouco plot mas muita coisa acontecendo por todos os lados, sem um bom tecido conectivo
maaaaas como se espera do argento, os visuais vão além do necessário, com mortes especiais e uma personalidade estética bonita em geral
Man spührt die Räume und Farben Suspirias in die grelle Mordorgie Tenebrares übergehen.
Und am Ende steht man da, man armer Tor und ist so klug als wie zuvor. Argento bringt ein wenig Kerzenlicht ins Dunkel seiner Mütter Trilogie, und was er uns für schöne blau/rote Szenen zu zeigen hat. Und wie stark seine Kamera arbeit gerade in extremen Nahaufnahmen ist. Lässt damit jedoch den Helden seines Amerika Parts gleich das Gebäude (den eigentlich Körper und Schauwehrt Infernos) in Flammen aufgehen.
Der Versuch das Geheimniss zu lüften, zerstört es. So wie die Logigmanie des modernen Films das Filmerlebnis zerstören kann.
P.S. ich würde mal gern wissen wie es mit Tierschutz am Sett aussah? Man sieht nicht wirklich was, aber allein wie die Katze gehalten wird lässt mich dann doch nachdenken... Andererseits, wenn ich bedenke wie Kubrick mit seinen Schauspielern umging, dürfte das auch unter Tierquälerei fallen ...
Inferno - 1980
What can I say? Dario Argento is an icon and a legend!🙌
I actually highly enjoyed this follow-up to ‘Suspiria’!
The underwater sequence...wow wow wow🙌🙌
One thing I can always count on in an Argento film is incredible colors, an amazing score, and ridiculous cinematography!!!😩🔥🔥
The reveal of Death Itself at the end...ugh I loved that! And there was a moment where I was genuinely freaked out, when the pair of eyes are peeking through the slot between the boards on the wall..OH. MY. GOD. Incredible!
I would highly recommend this film for any Argento fan, Horror fan, or someone interested in exploring the world of Dario Argento/Giallo/Italian Films!!🙃
Suspiria is definitely superior to Inferno but I still enjoyed both. Definitely need to watch more of Dario Argento’s work because his style is so fascinating. Colorful palette, fun visuals and good storyline: it’s worth seeing.
Impeccably shot, the story is a bit of a retread of suspira. Overall a solid watch for the cinematography and if you’re a horror enthusiast you will need to watch it to complete Argentos big trilogy but other than that you don’t need to see it
Director Challenge Extreme
Dario Argento #6
Starting off with the movies visuals, which are superb just as in Suspiria. Unfortunately, Inferno shows the same deficits as it’s predecessor. The characters are only here for the sole purpose of existing. They get no backstory whatsoever and seeing both movies in the span of 24 hours makes this whole experience somewhat repetitive. At least the opening sequence made a lasting impression on me.
Hogfather 1,265 films
Movies that I want to watch online for free. Links are under notes. If a link is broken, please leave…