- Dario Argento’s Inferno is the second (2nd) leg in The Three Mothers trilogy starting with Suspiria in 1977 and finally culminating in Mother of Tears in 2007.
This is already Argento’s seventh film- his debut was in 1970. Sadly, he is no longer making films in the wider aspect ratio – this is back in the standard 1.85 : 1.
Rainy nights and alchemy—the bold neon expressionism in the yellow and red lights off the actor’s face could be right out of Suspiria- immaculate work here.
There is very little dialogue- probably a good thing- but it Argento still dials up the set pieces.
auteur cinema – The Bird with the Crystal Plumage, Argento’s debut, has a very similar composition
- The blue radiating lighting in the basement of the library- Argento is at his best when his models/actors are searching through unnerving dark rooms with gothic production design and bold illumination patterns. The same idea happens when the fuse goes out at Sarah’s apartment before she is attacked.
- Argento alternates the story’s setting between New York and Rome but it is all shot in Italy. He uses different colors to mark the sequences in Italy and New York. Again, medieval funhouses with lots of blood, elaborate deaths and beautiful women. The lead actress, unfortunately, is a total non-entity—it would have been great if Alida Valli (The Third Man, Senso) had been more aligned in age with Argento for a collaboration. He could have used an actor of her abilities (she plays a small role here as Carol the caretaker).
- It is strange that the film is 106 minutes long and 10-15 of those are spent watching Kazanian (played by Sacha Pitoëff) drowning a bag of cats.
- There is a great scene of the apartment getting an autopsy (like the end of The Conversation) before heading downstairs with a blaring rock opera playing (by Keith Emerson) and a red light like from the trunk in Goodfellas.
- In another set up there is a fixed colored lighting between the two actors—blue and pink hues in the book store.
With all due respect to Emerson and Romano Albani—this is a major step down in collaborators from Suspiria’s Goblin (music) and Luciano Tovoli (cinematographer)
- Mario Bava was given a “special thanks” credit but is said to have been very hands on for much of the shoot.
- Recommend but not in the top 10 of 1980
Inferno was partly shot on location in USA. The “Kazanian drowning cats scene” was shot in Central Park, Manhattan. Argento later made a couple of films wholly based and shot on location in the US. The Black Cat in Pittsburgh, Pennsylvania and Trauma in Minneapolis, Minnesota.
There are 8 human deaths and 6 murder setpieces in Inferno compared to 4 human deaths and 3 murder setpieces in Suspiria. Imo, the weakest scene in the whole film is the ride in the rain with wind and neon colours. It’s not only directly lifted from Suspiria but is so much worse in terms of its execution and rushness. I’m pretty sure it’s the same butler from Suspiria as well.
I’m surprised. This film is only rated R. It’s a cinematographic marvel. The story is a bit wandering with multiple protagonists but it’s followable and understandable. It’s highlight scene after highlight scene of lighting and suspense. The drowning scene at the very beginning is very nicely done as well. It’s climbing on the TSPDT list as well and I won’t be mad if it breaks into the top 1000 soon. Loved it.
Thanks for taking a look at this Drake, I really like the shots you selected here for the page
@Harry- Appreciate it, Harry. Thanks for the comment.
Have you seen Vortex? I haven`t seen it yet, but I am interested if you think that Argento gives one of the best performances of the year, and if director`s acting credits bust them a little on top directors list.
@RujK- I have not caught up with Vortex yet. It is my understanding Argento is an actor in the film, not the director.
@Drake- yes, he is an actor in this film, I was just interested if you think he gives a good performance.