Semi-sequal to Suspiria has a American college student in Rome, and his sister in New York investigating a series of killings in both locations where their resident addresses are the domain of two covens of witches.
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Rewatch. While this isn't my favorite Argento (I prefer his giallo-ish register in Bird with the Crystal Plumage and Deep Red), it's probably his overall best. It's elegant, self-indulgent in a good way, and the middle portion with Daria, Sasha, the bathroom, the cats, and the rats suggests the 'cognitive noise' of a nightmare. Plus, we meet The Architect.
Perhaps Dario Argento's most indulgent exploration in perverse dreamlogic. Much of "Inferno" appears formless and dull, shifting from character to character with the grogginess of an over-the-counter sleep aid, and yet I find it impossible to take my eyes off of. Moments here feel like the skeleton key for Wes Craven's original "Nightmare on Elm Street" and twenty years of puzzle-based survival-horror video games.
"Inferno" has some fine examples for Argento's reflexive use of sound and music, e.g. the threefold appearance of Verdi's "Va, pensiero": The first time it appears during the musicology lesson at university where the camera sometimes "flies" (as reference to the text). The second time it is used during the taxi ride in Keith Emerson's instrumental rock version. And the third time it is played in the apartment ...
Like the same year's Maniac, and especially, the next year's The Beyond, Inferno is an avant-garde horror film. It's short on plot and with little story, yet the surreal nightmarish atmosphere is strung together with set-pieces that are ravishing to the senses and make the pulse race simultaneously. The neon lighting is gorgeously hellish, while the music is one of the loudest intensifying scores ever conjured.
The middle portion of 'The Three Mothers' trilogy is gorgeous visually but light on horror compared to the first entry 'Suspiria'. Argento is light on inventive grisly deaths this time around but delivers on set design, lighting and a fantastic opening sequence. The music by Keith Emerson is as fantastically bizarre as that of Goblin. Performances and dubbing as per most Italian giallo films are mediocre at best.
i find too complicated and i tried not to blink, because i would miss certain scenes. for example when they ran through the hidden passages. how did they get there? when did they get there?
even though it was more complicated than suspiria, inferno has one of the best death scenes i ever saw. the one with Kazanian eaten alive by rats.
The sequel to 'suspiria' is somewhat dissapointing, not only because it gives all the importance to style than plot (a constant in italian cinema) but because the plot doesn't make any sense, the so called characters could have been played by puppets, they're flat entities, figures used as excuse for later mutilation, in common or unimaginative ways.
Serviceable effort from Dario Argento is a loose sequel to his far-superior 'Suspiria'. Like 'Suspiria', it's a stylish gothic chiller that makes excellent use of color and lighting. But the plot is near incomprehensible - not uncommon in Argento films - but this time the style and atmosphere is just not enough to bring it through. Italian horror fans may find it entertaining, but it's far from the best.