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Considering that Suspiria is by far the most popular and acclaimed film in Argento's catalogue I'm rather confused as to why the sequel Inferno isn't more popular. Fans of Suspiria, like myself, ought to eat this up. Admittedly, it isn't as good as Suspiria, but it takes all the things that made that film so extraordinary and unusual and pushes them boundaries even further, while managing to be a fairly distinct from it's predecessor. This is most definitely a worthwhile piece in and of itself, and it is a must see for any horror fan, or those who enjoy visually startling films.
Visually, Inferno is even more stylized then Suspiria, with virtually nothing being shot in a perfuntory or realistic manner. It takes the most prominent visual aspect of Suspiria, the bright, garish sets and surreal colored lighting,(most often red and blue) and takes them to a greater extreme, and in a slightly different direction. In Suspiria, the set design and colored lighting were relatively simple, generally using open areas and relatively simple lighting, frequently with the entire scenes bathed in a single color.(And it rarely become more complicated than simply having 2 colors for the background, and 1 more illuminating the characters in the foreground) Thus, for all it's eeriness, the lighting in Suspiria actually illuminated the scene quite well. Not so in Inferno. The sets are cramped and elaborate, with numerous different light sources illuminating small portions of the scenes, generally with much of the scene still shrouded in darkness.(often to the point which you can't easily identify objects) Thus, although Inferno has many of the visual elements of Suspiria, they are used in a notably different style. Personally, I think that Inferno looks even better then its predecessor. The most notable scene, visually, is when Rose is attacked in her apartment. It is simply astounding.
This film is not big on plot or character development. In fact, I would say that it has perhaps the least character development of any film I've seen. (none) And to my surprise, I think this is actually a slight problem. Although Suspiria wasn't too big on character development, it managed to make me genuinely like Suzy and Sarah, whereas I don't give a damn about anyone in this film. And this actually makes the horror scenes less effective. The plot extends the mythos of Suspiria, with Rose reading a book, The Three Mothers, in the opening scene. The book states that 3 sisters rule the world, Mater Suspiriorum, Mater Tenebrarum and Mater Lachymarum, and that they live in Freiburg, Rome and New York respectively.(Naturally, Mater Suspiriorum was Helena Marcos in Suspiria) And she discovers that, wouldn't ya know it, she's living in the apartment complex in which Mater Tenebrarum resides.(She lives underneath it though, not in one of the apartments.) She's disturbed by this story and calls for help from her brother, Mark, living in Rome. Thus, an investigation is begun by various individuals, generally leading to their untimely deaths. As you might imagine, the plot is driven by absurdities and contrivances almost exclusively. But I don't care, and neither should you, considering the film and its goals. It can be a bit confusing at times as well, but you ought not worry about that, for the reasons stated above.
The murder sequences are very elaborate and nicely done, in much the same magnificently colored and hallucinogenic slasher film manner found in Suspiria, this time generally with taloned, cowled killers. They do have some slight flaws, however. Most significantly, they lack much of the sheer intensity and brutality of the killings in Suspiria. (Sorry about the endless comparisons, but they practically beg to be done) Simply put, the victims in Inferno are, for the most part, not made to suffer the way they did in Suspiria. Some people found the more sadistic aspect of Suspiria offensive, but that's what gave the deaths there power. Naturally, the most affecting death is the most painful seeming one, where the victim has their head pinned down through an open window, and the broken window pane repeatedly dropped on their throat. The visualization of this event leaves something to be desired, but it is conceptually nasty enough to make it work very well. Still, all the other deaths are beautifully shot and staged, even if they aren't as painful or personally affecting. Another problem is that they attempt a few more animal attacks, with little success. There is a cat attack, which is unintentionally humorous, and a massed rat attack which is just kinda bland. Fortunately, that is not all that is going on in those scenes, and they are still excellent sequences overall.
One of the most famous aspects of Suspiria was its extraordinary score by the band Goblin. Here Keith Emerson takes over scoring duties, and takes them in a different, somewhat more conventional direction, with lots of omionous, discordant piano pieces. Though not as effective as Goblin's work, it still works quite well, and is preferable to merely attempting a retread of the previous score. It uses the old trick of having a vicious murder contrasted with a grandiose, incongruent classical piece,(to great effect) and I also particularly enjoy the rock version of some Verdi piece they use during the cab scene.(It's cheesy, but I like it)
Sadly, the end of this film is somewhat anti-climatic.(Though to a lesser extent than was Suspiria) It's primarily hurt by the fact that it has a conceptually solid but incredibly hokey visual effect during the confrontation with Mater Tenebrarum. It's also hurt by the fact that the evil is defeated not by the actions of any of the protagonists, but just through luck and chance.
Well, that's about it. Somewhat flawed, but the flaws don't matter much. If you haven't seen Suspiria yet, see it first. If you like that, check this out.
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Reviews with images
"Inferno" Is A Roller Coaster Ride Through Hell - The Nightmarish Sequel To "Suspiria"
Like millions of other Dario Argento fans, I am eagerly awaiting the American release of "The Mother of Tears." In the meantime, I decided to review the first two films in the Three Mothers Trilogy. The first film, "Suspiria," was based on Mater Suspiriorum, the Mother of Sighs. The second film, "Inferno," is based on Mater Tenebrarum, the Mother of Shadows. In the prologue of "Inferno," viewers are introduced to the novel The Three Mothers. However, they soon learn that it is not a work of fiction. The Three Mothers (actually they are sisters) are witches. An architect, E. Varelli, built each one a gothic mansion in different parts of the world. Death and destruction have always surrounded these mansions. A young poet, Rose Elliot (Irene Miracle of "Midnight Express" and "Puppet Master") lives in New York. She buys The Three Mothers and suspects that the apartment building in which she lives belongs to the Mother of Shadows. Disturbed by the book's contents, she mails a letter to her brother Mark (Leigh McCloskey of "Dallas" fame). Soon people around them begin dying in gruesome manners, murdered by an unseen assailant. There are many similarities between "Suspiria" and "Inferno." First, and foremost, is the fact that they were both directed by the Italian Hitchcock, Dario Argento. Both have gorgeous, elaborate sets that are filmed in a dreamlike palette of primary colors of reds and blues. In "Suspiria," the house was a ballet school with students as victims. The house of "Inferno" is an apartment building and its wealthy tenants are victimized. Both have gruesome death sequences involving animals. In "Suspiria," a blind man is attacked and killed by his seeing eye dog. Rats and cats attack tenants of "Inferno." Both films have great musical scores to accentuate the violence. The endings are fiery. Furthermore, Alida Valli, who starred in "Suspiria," returns for another evil role. Daria Nicolodi who co-wrote the script for "Suspiria" has a supporting role as well. She was the long-time girlfriend of Dario Argento and also starred in his giallo mega hit "Deep Red." She starred in other films of his as well such as "Phenomena," "Tenebre," and "Opera." Unfortunately, "Inferno" never enjoyed the same success as "Suspiria." This is partly due to its ending which seemed contrived. It was very difficult to understand. However, sometimes dreams, or nightmares, can be difficult to comprehend. If we approach "Inferno" as a nightmare, then anything is possible. It will be very interesting to view "The Mother of Tears" for the first time and look for similarities between it and the first two installments of the Three Mothers Trilogy. In the meantime, sit back and enjoy the visual roller coaster ride from Hell that is "Inferno."
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Nabil-halim
Définition du produit.
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Indispensable para los fans de Argento
Reviewed in Mexico on February 12, 2020
£‥±± ポンドニテンプラマイ
「未消化な伏線は気になるが、圧倒的残酷美。豊富な映像・音声特典が嬉しい豪華2枚組Blu-ray。」
Reviewed in Japan on November 19, 2023
£‥±± ポンドニテンプラマイ
Reviewed in Japan on November 19, 2023
販売元 Happinet
ASIN：B072X1MDLV
に上げた物です。
(少し内容に触れています)
詩人ローズ（アイリーン・ミラクル）は骨董品店で見つけた錬金術師が記した「三人の母」の内容に戦慄する。
現在自分が住んでいるニューヨークに記された“マーテル・テネブラルム”＝暗黒の魔女が現存するかもしれないのだ。
己の不安と助力を綴った手紙をローマの弟マーク（リー・マクロフスキー）に投函後、更なる手掛かりを得ようと骨董店を再訪するが店主のカザニアン（サッシャ・ピトエフ）から何も得られない。
書内で「手掛かりは地下に。」と有ったので建物の地下室に侵入して調べると、偶々鍵を落とした穴の底に魔女所縁と思える肖像画を発見するが、そこには…。
鮮血の貴公子の異名を取った映像派、ダリオ・アルジェント監督の本格ホラー”魔女3部作“の第2作目。
監督が撮りたいと思っている映像重視の耽美残酷な映像の連続に、筋を追う方は未回収の謎が積み重なって疲弊困惑してしまうカルト作。
美しいが基本無能無力で有ったり、意味深の登場をしながら直ぐ死んでしまったりするキャストは「俳優は単なるコマ」と語っているアルジェントの撮りたい映像の為に役柄の意味も知らされずに演じた方も多かったそうです。
また、本作撮影中に体調を崩したアルジェントが一時現場を離れていた事も影響が有ったかもしれません。
但し、自然メイクの美しい女優、木偶の坊だが美貌の主演男優と一癖あるヨーロッパのロシア系助演男優陣、ジャッロの名残のなぜそこに凝るのかが判らない細部やメカ、本作が映画音楽デビューだったカリスマ・ロック・キーボード奏者のキース・エマーソンのスコア等、好きな方には堪らない細部の積み重ねが魅力です。
美しいセット、原色を際立たせる細やかな照明や撮影、アナログの匠の技を凝らした特撮、特殊メイク等は時代を乗り越えています。
特にクライマックス・シーンのスタッフ・キャストが身体を張ったシーンは必見。
アナログ時代屈指の手に汗を握る場面でした。
ローマの大学講堂にいた猫を抱いた極めて思わせ振りな美女、アニア･ピエローニ（「ビヨンド」「今のままでいて」「シャドー」）の正体は本作の27年後に発表された完結作「サスペリア・テルザ 」を観て、幾つかの参考資料を読むと正体が解る仕組みです。
豊富な音声（英語、イタリア語、日本語と様々な録音方式）収録、リバーシブルジャケット仕様です。
特典のDISC-2は、インフェルノのソフトを初めて購入する筆者には初見の物が多く、とても見応えが有りました。
（以後、特典Blu-rayについて触れています。ご自身でご覧になる前に知りたく無い方は飛ばして下さい）
【DISC-2】
1． 「オブ･ダークネス･アンド･ファイアー（Of Fire and Darkness）」1時間37分2010年。
関係者インタビュー。
邦題は意識的に順序を変えたのか、誤訳なのかは不明です。
・特殊効果のファビオ・トラヴェルサーリFabio Traversari
･撮影のロマノ・アルバーニRomano Albani
・メイクのピエラントニオ・メカッチPierantonio Mecacci
・映画史家、映画監督：ルイジ・コッツィ
・助監督：ランベルト･バーヴァ（マリオ・バーヴァの息子）
2，「監督ダリオ・アルジェント&助監督ランベルト・バーヴァインタビュー」8分 2000年
メカッチは特殊メイクも担当したが、各俳優陣の撮影場面毎の通常メイクが主立った模様。
3．「アート・アンド・アルケミー Art & Alchemy」15分 2011年
主演男優、リー・マクロフスキーのインタビュー。
自信の芸歴と芸術観を語る。
4．「バラの輝き リフレクション・オブ・ローズ REFLECTIONS OF ROSE」13分2011年
主演女優、アイリーン・ミラクルのインタビュー。
自らの芸歴と撮影時と2009年の米国特集上映時の思い出。
5．「ザ・セカンド・マザー The Second Mother」約17分2017年
当時のアルジェントのパートナーで伯爵夫人エリーゼ役と共同脚本も努めたダリア・ニコロディのインタビュー。
6．「クリティクス・オン・ファイアー CRITICS ON FIRE」約20分2010年
映画史家：アントニオ・テントーリ、アントニオ・ブルスチーニによる3母神3部作の第２作としてのインフェルノの分析。
７.「ロケーション・ツァー」約３分
当時のロケ現場を巡った映像。
・ローマ コッペデ地区ミンチ広場
・ローマ アンジェリカ図書館 聖アゴスティーノ広場
・ローマ タリアメント通りとポー通り２２番
・ニューヨーク セントラルパーク ギャップストウ橋
８．「インフェルノ・Q&A」2009年
ティム・ルーカス、キース・エマーソン、アイリーン・ミラクル
LAニュー・ビバリー・シネマでの本作上映前のトーク。
エマーソン、ミラクルの人を逸らさない話術と、ルーカスの堂々たる体躯が印象的。
9．「劇場予告編」3分24秒
3－5を除くと元がSD画像なのか絵が粗いですが、内容はファンには嬉しい物でした。
裏方で本作を支えたイタリアのジャンル映画の天才職人監督かつアナログ特撮の名人でもあったマリオ・バーヴァと撮影の手助けをする多くの機械仕掛を制作したジェルマーノ・ナタリを讃える話者が多いです。
ただ、インフェルノの映写会にも関わらず、アルジェントやゲストのエマーソンよりマリオについて滔々と語るティム・ルーカスは少しやり過ぎだとは思いましたが（でも嬉しかったです）。
アルジェント・ファンの方には全盛期のスタッフ・キャストにも恵まれた、脚本の欠点を補う映像美の作品として大いにお薦めです。
2023年日本版発売の「恐怖 ダリオ・アルジェント自伝」、IMDbを参考にさせて頂きました。
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