Inferno (1980)

[slayrrr666]

“Inferno” is a breathtakingly beautiful film but it doesn’t make a lot of sense.

**SPOILERS**

After discovering a sacred key in New York, Rose, (Irene Miracle) announces to her brother Mark Elliot, (Leigh McCloskey) in Rome, only for his neighbor Sara, (Eleonora Giorgi) to become involved in the discovery. When a series of murders forces him to come to America, they find that the keys are part of a system used to control a powerful witch that belonged to a trio of powerful witches. When her friend Elise Stallone Van Adler, (Daria Nicolodi) decides to help him following another spree of murders, they find that the witch is about to be released from her hiding place, and race to stop her from continuing a reign of destruction.

The Good News: One of the most visually striking films around, this is also one of the greater films of Argento. He pulls out all the stops here, creating one of the most visually arresting genre films ever made. Everything is designed to hit the viewer with maximum effect--be it the lush and lurid use of color, the subtle but intriguing scene transitions, the wild murder sequences, or the rock-opera score, there’s an over-the-top grandness to that makes it incredibly appealing. Lurid colors and strange lighting register in every shot, giving the proceedings a nightmarish feel that permeate these films. The standout scene of the whole film is one sequence where, early in the film, the first character is in a basement where she finds a hole in the floor leading to another room underneath the building, this one filled entirely with water. Accidentally dropping her keys into the hole in the floor, they of course are forced to dive into this submerged room, finding a picture of Mater Tenebrarum as well as encounter some surprises underwater she didn’t expect to discover. That in itself is one of the greatest sequences in the film, and the eventual surprise is quite creepy. The other death scenes are very long and intense. One of the best is the sequence where the Mother grabs Rose from behind, forces down her head until she is impaled on nails sticking out of a window frame, and then she pushes down the glass to slice her throat. The glass jams in the first attempt, but the Mother quite methodically pushes it back up, and makes another. This one connects but does not kill, so it’s done again. The sequence is so well done, it is actually painful to watch. Equally impressive is a segment where one character winds up slipping into a sort of creek where he is subsequently attacked by hundreds of rats that chew on him, while the character screams for help. Getting what appears to be a rescue, inexplicably his throat gets slashed. The murder sequences are all nicely done, particularly one savage stabbing near the middle of the film. What makes it so great is that they’re attacked by a horde of rats in a long, incredibly drawn-out sequence. The real fireworks come at the end, with one of the greatest building-fires around, which also sets up the confrontation with the villain in a burning apartment. Delivering the requisite explanation while being framed in a mirror with fire burning all around them, the villain gets closer and closer until they break through the window with one of the greatest reveals ever. It’s a simple scene that works incredibly well, and it’s a surprising image that really won’t be forgotten soon. That works well in giving the film a true re-watchability factor.

The Bad News: There’s really only one thing in the film that wasn’t on, and that was the plot. This made absolutely no sense at all, and was just basically a series of scenes that have very little in common with each other. It’s hard to really describe this one any more, as it’s just a confusing, illogical mess. This is the only real problem with it, but it’s a major one, enough to lower it’s rating considerably.

The Final Verdict: Even when it doesn’t really make a whole lot of sense, it’s still one of the most interesting and really fascinating works of Argento. It’s not in his upper echelon of films, but it’s still close enough to give this a real recommendation to hardcore European Horror and Argento fans.

Rated R: Graphic Violence, some Language and scenes of animal abuse

[frankenjohn]

It comes out on DVD in February from Blue Underground (great company) and I can't wait to buy it.

[slayrrr666]

I know. It's a re-issue of an OOP AB title, as well as Deep Red, City of the Living Dead, Don't Torture a Duckling, Shock, and Autopsy. Since the only one I have is City, this is incredibly great news.

[frankenjohn]

Yeah I'm also picking up City and Duckling with Inferno.

[slayrrr666]

So, then you have no interest in Shock or Deep Red?

Those two are absolute must-owns. Deep Red is the beginning of Argento's best phase of his career, where he has Deep Red, Suspiria, Inferno, and Tenebre. It could be his best film, and really deserves to be seen.
And Shock is directed by Mario Bava. That's all you need to know there.

[frankenjohn]

I already own 3(!) copies of Deep Red, 2 of them are the 2 hour uncut versions. Deep Red is one of my favorite movies ever, horror or otherwise. The cinematography is actually wonderful and the mystery itself is deliciously intriguing. I also rented Shock last summer and watched it in my shore house. That was a good movie. However, I liked Bava's Kill, Baby, Kill! better because it had a better atmosphere and was just creepier where Shock had a little more cheese. And Planet of the Vampires...let's just forget that ever happened.

[slayrrr666]

frankenjohn said:

I already own 3(!) copies of Deep Red, 2 of them are the 2 hour uncut versions. Deep Red is one of my favorite movies ever, horror or otherwise. The cinematography is actually wonderful and the mystery itself is deliciously intriguing.

Oh, well if you've already got those, then I guess you really don't need it, even if BU does fantastic work on aspect ratios and sound.

frankenjohn said:

I also rented Shock last summer and watched it in my shore house. That was a good movie. However, I liked Bava's Kill, Baby, Kill! better because it had a better atmosphere and was just creepier where Shock had a little more cheese.

Incidentially, Kill, Baby, Kill is getting the Dark Sky treatment with a special edition coming out in March. Sounds like a winner.

frankenjohn said:

And Planet of the Vampires...let's just forget that ever happened.

Sacriliedge!!!!!!!

The official inspiration for the movie Alien, and is a far, far, far more enjoyable experience than that overhyped borefest. To transport the Gothic atmosphere and vibe into space with as much suspense and mystery surrounding it is a major acheivement, and with as low a budget to do so is a major feat. Plus, with so many impressive visuals and special effects, it's simply proof the Italians, if not having done it first, do it better than anyone else out there. And in this case, it was both.

[frankenjohn]

I didn't really find it impressive. I find Planet of the Vampires low-brow sci-fi.

[Bartwald]

It IS low-brow sci-fi, frank - but genius at that! And by the way - Mario Bava also directed the best scene in Inferno (the underwater beginning) and it was the last thing he filmed before his death.

Inferno is a good, mesmerizing film but the title is a bit misleading here - there's no real "inferno" in it, is there?

[slayrrr666]

Ooh, sorry Bart, but that's a misconception. Bava handled the Mater Lachyrmarum revelation sequence in the climax for Argento, but he himself has said that he did the underwater sequence. I believe him for two reasons:

The underwater sequence is more of an Argento scene, where the camera angles and what's being shown (or unseen) drive the scare. She's underwater for too long, and while making her escape, a previously unseen corpse rises up and threatens her. That's typical of the type of scares Argento would go for.

The revelation sequence is all based on trickery, lighting, and ingenuity, which are hallmarks of Bava's successes. There's really no elaborate camera moves or angles, since it's all just a single view of the Mater walking towards the camera and then finally, the change and revelation through the mirror, and that reads totally Bava to me.

And I agree on Planet, Bart. Low budget genius that's very, very worthy of recognition.

[Bartwald]

Got your point, slayrrr - it does make sense. However, I think the underwater scene has some Bava magic in it, too. And I heard about Bava making it in a well-researched documentary on him.

[slayrrr666]

Hmm...

Tim Lucas said he didn't do it.
Argento and Lamberto both said in the interview segment he didn't, but all the online reviews I've read of it say he did.

Really confusing, but I trust Lucas more than anyone. He should be the one that knows.

[Bartwald]

It's not unlike The Great Script Controversy: Argento says it's his ideas all around, while Daria Nicolodi claims to be the real author of it.

Inferno is one big mystery, I tell you.

[frankenjohn]

All I can say is I can't wait for The Third Mother. I hope it raises Argento out of his recent theatrical slump.

[slayrrr666]

admin said:

It's not unlike The Great Script Controversy: Argento says it's his ideas all around, while Daria Nicolodi claims to be the real author of it.

Inferno is one big mystery, I tell you.

I hear you there. But man is it a fun one.

And Frank, Sleepless and Do You Know Hitchcock? both marvellous films that prove he still has it. The only one that wasn't was The Card Player, but still, two-to-one.