Suspiria’s visually darker and grander cousin adds minimal but interesting tidbits to the “Three Mothers” mythos. The images here are less flamboyant, but just as arresting, while the narrative feels more sluggish and impenetrable without a Jessica Harper-type lead to latch on to. The apartment building itself is a nightmarish, illogical, ever-shifting wonder. An unforgettable though garbled experience.
An ad hoc sequel to Suspiria, not as stylish as the real thing but stylish nonetheless. Occult practices, evil cats and more evil rats, deceitful architecture and – most importantly – innovative usage of knives and other sharp objects. Anything to keep you distracted from the background story because it truly makes no sense. But who cares when you’re in an art nouveau building with a murderous witch (or something).
"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.
"Ovid wrote about the fantastic terrors (and pleasures) of Transformations and that is exactly Dario’s aim in Inferno." - [Irene Miracle] When I first saw this, I hated it but now it's currently my favourite Argento film. For me, it forms the heart of The Three Mothers trilogy. I don't think it's nearly as incomprehensible as everyone says. The film is actually quite intricate with its own internal logic.
Enfadonho e limitado (novamente?) pelo azul e vermelho já anteriormente vistos no Suspiria, que amo. Uma relação com a água mantém-se. Todavia, esta narrativa emaranha-se demasiado na rede desnecessariamente complexa de episódios vazios e dilatados, expectantes por um horror brega que não chega, aos quais um leque absurdo de personagens e a música (com excepção dos vocals em latim sobre as labaredas) serve e bem.
(Generous) 7 - The dilapidated apartment building that serves as this film's setting might be Argento's most fascinating spacial and stylistic creation (and that is saying something). The film itself, however, feels like an inferior retread of "Suspiria" with an ending that borders on the inept.
Die Konzentration ordnet sich der Esoterik unter, dem subversiven Primärfarben-Gewitter, das auf den Zuschauer einprasselt und den Weg in ein berauschendes Labyrinth freilegt, wo Abstraktion und Avantgardismus die gängige Skala der Argento'schen Exploit-Symbolik ausreizen- wenn man sich dieser Verwirrung öffnen mag. Eine Komponie aus Kontroverse und optischer Pracht, oder auch: Faszination und Frustration.
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 love this movie for so many (colour-related, cat-adjacent, underwater chandelier) reasons, even though the credits lied to me about the old man being Feodor Chaliapin (unlikely, but I was excited anyway) - turns out it was Feodor Jr! I should also note that the creepy apartment inhabited by the at-first leading lady has yellow tiled walls that look exactly like those in my living room. I dig it!