Review

In New York poet Rose Elliot is slightly concerned by what she has read in an old book she brought in the antique store that just happens to be next door to her apartment block. Seems there are three witches, the Three Mothers, who secretly control the world from Frankfurt, Rome, and more ominously New York City. Naturally Rose has to investigate, at night, in an underground basement, and naturally the forces of darkness are not unaware of her interest in Mater Tenebrarum, or the Mother of Darkness.

Meanwhile in Rome Rose's brother Peter is distracted in class, he is a musicology student, by a hot looking chick stroking her pussy. He forgets the letter he was reading from his Sister, but thankfully his friend Sara is on hand to pick up the forgotten correspondence. Naturally Sara reads the letter, is exposed to knowledge of the Three Mothers, and is later murdered in her apartment by person unknown. Peter flies to New York, only to discover his sister is missing, there is a rising death toll going down at her apartment block, and the local alley is overrun by felines! Can Peter discover the secret of the Apartment building, or will be becoming another statistic at the hands of Mater Tenebrarum's demented forces? Let's check out what has to be a rent controlled building.

Inferno is the second movie in Argento's loosely defined Three Mothers trilogy and builds on Argento's masterpiece, Suspiria (1977). With the second movie the Italian Writer/Director feels the need to explain the mythology in more depth, a good thing, but does so ad nausea as every character seems to get a rehash. We got it the first couple of times, moving along Dario. While points are being belaboured we still get armed with enough information to see what the trilogy is driving at, and more importantly put Suspiria in the context of the overall story arc. By Inferno, notably title always spelt out in a Gothic font on the covers of the almost yearly DVD releases, the house of Mater Suspiriorum in Frankfurt has been destroyed as the axis of evil is broken.

One of the major attacks launched on Inferno is centred on the plot, or lack thereof in places, and is generally delivered by the self opinion smug types that seem to think people are remotely interested in their opinion on the interwebs. I've canvassed our readership, all five of them - hey guys, and no one was caught up in plot problems with this movie. The story might be simple, might have a few illogical moments, but gets where it's going and delivers the required jolts in pretty good order. For mine, Inferno is quite possibly the most operatic of Argento's dark genre output and still shows a Director transitioning from Giallo to outright darkness. Inferno demonstrates Argento's ability to take the dark genre by the scruff of the neck and dip it in Italian sensibilities, one hell of an achievement in and of itself. While watching the movie I was constantly nodding my head in approval, and was left pondering, as the end credits rolled, why exactly we don't get horror movies of this calibre anymore.

Inferno is steeped in Italian concerns about Opera and was clearly the major influence Argento brought to the table when devising the concept of the New York Apartment building. For those who haven't seen the movie, we're talking the sort of art deco touches that make grown women go weak at the knees. Assuming said women like architecture and in particularly 1930s stylings. The sets are stunning, vibrant, a character unto themselves, and it's all visage, as we learn there are cracks behind the facade, both in terms of decaying architecture and a loosening of reality. Argento creates a surreal world that on the surface is chic, but this facade hides a lurid side that speaks more of the gutter and less of the artistic. The movie either works as a schizophrenic nightmare or the true representation of Janus' bilateral characteristics. If you have already seen Suspiria then you are going to be in your element, as in both movies the leads go beyond the everyday grandiose splendour to worlds of utter mind boggling terror. Argento wraps things in a firm understand of colour and the use of darkness to construct tension.

For horror fans there's plenty to be immersed in. Besides the obligatory black gloved killer that is a hangover from Giallo days, there's the attack of the rats, and really you shouldn't trust anyone in central park, even if they seemingly are coming to your help after a mishap with a sack fill of cats. Argento naturally ups the tension and atmosphere throughout as things get increasing chaotic in an otherwise ordered world, another reason for the overtly geometric art deco touches of course. The only let down for mine was the finale that was almost comic book bad in delivering a 1950's style twist. But hey small issue, I was rocking out to the horror elements throughout.

I guess for the majority of viewers the movie can be summed up in an early scene, that is either going to win you over to the film or leave you lost in a logic puzzle that has no place in dark genre outings - they are pretty much from the unbelievable side of the street to begin with. Rose Elliot really hasn't pick the luckiest place to rent in New York, and is woken to the fact via The Three Sisters, an old book she purchases in the antique story next door. Naturally she starts to investigate the mystery, which of course leads her to a deserted and decaying basement. For no apparent reason there's a sub-basement area that is flooded, and guess who drops her keys into a ragged opening to the subterranean water park. Naturally, as you do, Rose dives on in to retrieve her lost property, not taking time out of her busy schedule to disrobe unfortunately. Argento has the tension coming at the audience from multiple angles, including of course a black glove hand. While there could be numerous logic issues with the scene if we really wanted to break it down, Argento builds a sensational statement of the operatic nature of the film he is composing. I was simply captivated, you may not be, thankfully there are still some movies that can course debate.

Keith Emerson, of English progressive rock band Emerson, Lake, and Palmer, provides a soundtrack that brings new meaning to striking. While some of the movements are overly dramatic, the styling knocks the movie into another dimension in terms of tension and lying on an atmosphere, I was rocking along and can definitely advise to score the CD if you ever see it.

I guess I was captivated by the movie due to the set designs and overall atmosphere, the plot may not have been the most involved I've ever run across but so what, the plot for Drag Me To Hell was equally light on depth. Argento delivered a movie full of style, tension, and simply laced with his ability to keep the audience mesmerised. Full recommendation to dark genre fans, this is the sort of horror flick we need made today. Perhaps if the script had of been more dramatic more fans would appreciated the movie, then again whenever a serious horror flick fill of drama is released, no one apparently is interested.

I picked up a copy of Inferno for sub $10, you shouldn't have any problems locating one similarly priced. Seems each year a new edition is released, so check out those available, and ensure you score one with mucho extra features to get into the solid skinny on the flick.