list http://www.spout.com/ Recent community activity around Inferno on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Inferno/17050/default.aspx Title: Inferno
Year: 1980
Director: Dario Argento
Plot: A combination of alchemy, architecture, and horror, director Dario Argento's Inferno is a pulsing thriller filled with murder and supernatural mayhem. The peculiar proceedings are set into motion in both New York and Rome when two young women, Sara (Eleonora Giorgi) and Rose (Irene Miracle), find a book called The Three Mothers, a tome of alchemy written by an architect named Varelli. According to the book, Varelli built a trio of resting places for the Three Mothers, an evil trio whose identities remain at the core of the film's mystery. Rose's brother and Sara's boyfriend is Mark (Leigh McCloskey), a music student in Rome who jets to New York after Sara is murdered and Rose disappears. He follows up Rose's research on The Three Mothers and, with the help of his sister's neighbor, Elise (Daria Nicolodi), comes to the realization that the building they are in is one of Varelli's. Along the way, Mark encounters a variety of quirky characters including Elise's butler (Leopoldo Mastelloni), the building's maid (Alida Valli), a cat-hating bookseller named Kazanian (Sacha Pitoeff), and the infirm Professor Arnold (Feodor Chaliapin) and his nurse (Veronica Lazar). After a series of murders and a revelation that the butler and the maid have been plotting to steal Elise's jewels, Mark discovers a secret series of passages within the building. They lead him to its core where he finds the wheelchair-bound Professor Arnold, who explains that he is really the architect Varelli. After a violent struggle, the dying old man confesses to Mark that he is merely a servant to the Mothers. The building begins to burn out of control, but before Mark can escape, he discovers the shocking identity of the Three Mothers. ~ Patrick Legare, All Movie Guide
Times Tagged: 3
Number of Lists: 11
Number of blog posts: 2
Number of discussion threads: 3
SpoutRating: 3
]]>Fri, 07 Aug 2009 01:32:38 GMTInferno1980Dario ArgentoA combination of alchemy, architecture, and horror, director <a href="/players/P____79899/default.aspx" style='text-decoration:underline'>Dario Argento</a>'s Inferno is a pulsing thriller filled with murder and supernatural mayhem. The peculiar proceedings are set into motion in both New York and Rome when two young women, Sara (<a href="/players/P____27061/default.aspx" style='text-decoration:underline'>Eleonora Giorgi</a>) and Rose (<a href="/players/P____49543/default.aspx" style='text-decoration:underline'>Irene Miracle</a>), find a book called The Three Mothers, a tome of alchemy written by an architect named Varelli. According to the book, Varelli built a trio of resting places for the Three Mothers, an evil trio whose identities remain at the core of the film's mystery. Rose's brother and Sara's boyfriend is Mark (<a href="/players/P____47036/default.aspx" style='text-decoration:underline'>Leigh McCloskey</a>), a music student in Rome who jets to New York after Sara is murdered and Rose disappears. He follows up Rose's research on The Three Mothers and, with the help of his sister's neighbor, Elise (<a href="/players/P____52630/default.aspx" style='text-decoration:underline'>Daria Nicolodi</a>), comes to the realization that the building they are in is one of Varelli's. Along the way, Mark encounters a variety of quirky characters including Elise's butler (Leopoldo Mastelloni), the building's maid (<a href="/players/P____72697/default.aspx" style='text-decoration:underline'>Alida Valli</a>), a cat-hating bookseller named Kazanian (Sacha Pitoeff), and the infirm Professor Arnold (Feodor Chaliapin) and his nurse (Veronica Lazar). After a series of murders and a revelation that the butler and the maid have been plotting to steal Elise's jewels, Mark discovers a secret series of passages within the building. They lead him to its core where he finds the wheelchair-bound Professor Arnold, who explains that he is really the architect Varelli. After a violent struggle, the dying old man confesses to Mark that he is merely a servant to the Mothers. The building begins to burn out of control, but before Mark can escape, he discovers the shocking identity of the Three Mothers. ~ Patrick Legare, All Movie Guide3Slightly Tagged (1-5)11233http://www.spout.com/ProductImages/u05120bgis2.jpghttp://www.spout.com/films/Inferno/17050/default.aspxFilm http://www.spout.com/groups/Friends_of_Foreign_Flicks/Re_Foreign_Gems/591/31018/1/ShowPost.aspx Post By: Risselada
Post To: Friends of Foreign Flicks
Post Date: 6/9/2008 5:49:03 PM
Body: [quote user="unclefestering"]When I find a genre I like I usually try to watch a group of them together because, expecially if you watch them in the order of release date, you can really make connections and see how one director influenced another and you can really understand how the conventions develop and change. If I want to follow an individual director, I will tend to space his works out with other movies, because an individual style over and over really causes burn out. I had to space out Dario Argento's movies, but I loved Suspiria (1977) and Inferno (1978).[/quote] Yeah I know what you are saying. I think you have to find the right time span when you are trying to watch a bunch of related movies to see how they are related together. Watching them too close together can cause burnout and confusion in memory of which is which. But watching them too far apart you can forget details of the earlier ones you saw.
]]>Mon, 09 Jun 2008 21:49:03 GMTRisseladaFriends of Foreign Flicks6/9/2008 5:49:03 PM[quote user="unclefestering"]When I find a genre I like I usually try to watch a group of them together because, expecially if you watch them in the order of release date, you can really make connections and see how one director influenced another and you can really understand how the conventions develop and change. If I want to follow an individual director, I will tend to space his works out with other movies, because an individual style over and over really causes burn out. I had to space out Dario Argento's movies, but I loved Suspiria (1977) and Inferno (1978).[/quote] Yeah I know what you are saying. I think you have to find the right time span when you are trying to watch a bunch of related movies to see how they are related together. Watching them too close together can cause burnout and confusion in memory of which is which. But watching them too far apart you can forget details of the earlier ones you saw. http://www.spout.com/groups/Friends_of_Foreign_Flicks/Re_Foreign_Gems/591/30655/1/ShowPost.aspx Post By: unclefestering
Post To: Friends of Foreign Flicks
Post Date: 6/6/2008 2:40:00 PM
Body: [quote user="Risselada"] So you like to focus on one era or genre of filmmaking and soak in as much as you can at one time? I try to avoid that for just the reason that you mentioned. You get sick of them because you are comparing them all to each other and they almost all start to blend together in your mind. If I am interested in several movies from a certain era or movement, I will try to stagger my viewing of them over several months at least so that I don't see them all at the same time and have those negative effects. [/quote] When I find a genre I like I usually try to watch a group of them together because, expecially if you watch them in the order of release date, you can really make connections and see how one director influenced another and you can really understand how the conventions develop and change. If I want to follow an individual director, I will tend to space his works out with other movies, because an individual style over and over really causes burn out. I had to space out Dario Argento's movies, but I loved Suspiria (1977) and Inferno (1978).
]]>Fri, 06 Jun 2008 18:40:00 GMTunclefesteringFriends of Foreign Flicks6/6/2008 2:40:00 PM[quote user="Risselada"] So you like to focus on one era or genre of filmmaking and soak in as much as you can at one time? I try to avoid that for just the reason that you mentioned. You get sick of them because you are comparing them all to each other and they almost all start to blend together in your mind. If I am interested in several movies from a certain era or movement, I will try to stagger my viewing of them over several months at least so that I don't see them all at the same time and have those negative effects. [/quote] When I find a genre I like I usually try to watch a group of them together because, expecially if you watch them in the order of release date, you can really make connections and see how one director influenced another and you can really understand how the conventions develop and change. If I want to follow an individual director, I will tend to space his works out with other movies, because an individual style over and over really causes burn out. I had to space out Dario Argento's movies, but I loved Suspiria (1977) and Inferno (1978). http://www.spout.com/groups/HORROR_MOVIES_101/Re_Italian_Horror/222/24693/1/ShowPost.aspx Post By: Dr_Gor
Post To: HORROR MOVIES 101
Post Date: 2/4/2008 12:27:29 AM
Body: Anyhow, I wanted to resurrect this discussion yet again to say a few words about Dario Argento... His new movie, The Mother of Tears: The Third Mother is due out this year. This is the third movie in his 'three mothers' trilogy that began with Suspiria and Inferno ... two of the most visually stunning and graphic movies ever made. While at times a bit convoluted and hard to follow plot wise, and featuring bizzare and surrealistic sets and colors consisting of luminescent deep reds and blues against stark black, both of these movies involve the discovery of, and battle against, two of the 'Three Mothers', the most powerful witches of all time. There are plenty of very graphic slasher-type murders in both of these movies as well as some supernatural type killings as well, including a seeing-eye dog who rips out the throat of his master in Suspiria and 'death-by-cat' in Inferno ... I am looking forward to this third installment with much anticipation. Other Argento movies of note include the seminal slasher films Deep Red (considered to be the inspiration for all the slasher films to come, including Halloween and Friday The 13th ) , Tenebre and Trauma . One of my personal favorites is Phenomena , which features a stunningly beatiful Jennifer Connolly as a young girl with some sort of a psychic link to insects (!) and a murderous, razor-wielding chimpanzee (!!) ... (God, I hate those murderous chimpanzees! See also Link and Greystoke: The Legend of Tarzan ...) < GOR >
]]>Mon, 04 Feb 2008 05:27:29 GMTDr_GorHORROR MOVIES 1012/4/2008 12:27:29 AM Anyhow, I wanted to resurrect this discussion yet again to say a few words about Dario Argento... His new movie, The Mother of Tears: The Third Mother is due out this year. This is the third movie in his &#39;three mothers&#39; trilogy that began with Suspiria and Inferno ... two of the most visually stunning and graphic movies ever made. While at times a bit convoluted and hard to follow plot wise, and featuring bizzare and surrealistic sets and colors consisting of luminescent deep reds and blues against stark black, both of these movies involve the discovery of, and battle against, two of the &#39;Three Mothers&#39;, the most powerful witches of all time. There are plenty of very graphic slasher-type murders in both of these movies as well as some supernatural type killings as well, including a seeing-eye dog who rips out the throat of his master in Suspiria and &#39;death-by-cat&#39; in Inferno ... I am looking forward to this third installment with much anticipation. Other Argento movies of note include the seminal slasher films Deep Red (considered to be the inspiration for all the slasher films to come, including Halloween and Friday The 13th ) , Tenebre and Trauma . One of my personal favorites is Phenomena , which features a stunningly beatiful Jennifer Connolly as a young girl with some sort of a psychic link to insects (!) and a murderous, razor-wielding chimpanzee (!!) ... (God, I hate those murderous chimpanzees! See also Link and Greystoke: The Legend of Tarzan ...) &lt; GOR &gt; http://www.spout.com/blogs/solafekxela/archive/2008/1/18/24045.aspx Post By: solafekxela
Post To: solafekxela Blog
Post Date: 1/18/2008 8:14:09 PM
Body: Italian filmmaker Dario Argento is considered the all time great horror maestro, with films like Suspiria and Inferno on his resume. HIs daughter, Asia Argento, is an aspiring young filmmaker and actress with a few films under her belt. Her latest, with a title as agonizingly interminable as the film itself, is a near-shameful entry into the oeuvre of her family. It’s torture porn meets melodrama meets senseless violence meets, well, porn. There is not one image in The Heart is Deceitful Above All Things that did not disturb, annoy, or offend me. Based (loosely, I presume) on a short story by J.T. LeRoy, Argento’s film stars herself as an irresponsible teenage mother and Jimmy Bennett as Jeremiah, her seven-year-old son dragged from the comparatively heavenly foster home and thrust into a world of sexual and physical abuse. No film excites me more than one that sets out to toss countless disturbing images at my face for unidentifiable reasons. Schindler’s List portrays offensive events and images because it’s telling the true story of the Holocaust; Argento is like a kid at a carnival game, aimlessly tossing darts with the hope of finally hitting one emotion-filled baloon. Instead, I was the little specimen of inflatable latex in the corner defiantly refusing to pop. Having said that, it is claimed that LeRoy based the story (again, presumably loosely) on some aspects of his childhood. I pray for his soul. The reason I resort to perhaps unjustified assumptions about the faithfulness of the adaptation is that the way Argento presents the events implies that anyone who endured them would be too emotionally scarred to be able to relive them as catharsis. It’s endlessly painful to watch, and Argento’s motivation for telling such a macabre tale is mystifyingly undefined. The film can be considered a road movie that follows Sarah, the mother, teaching young Jeremiah (Biblical reference explicitly intended) about the evils of the world. How so? Well, her boyfriend rapes him, she introduces him to the magic of drugs and alcohol, and her fanatically religious family leaves the poor child mentally and physically nonplussed. All this sounds like fantastic entertainment, sure, but Argento’s desired end is wholly nebulous. In fact, I’m not entirely sure she has one, other than the conspicuous manipulation found in her many failed attempts to strike a random emotional chord and lyrically suck you into the soulless story. I can see where some would find the alarmingly expressive cinematography enchanting, but I found it distracting and, frankly, meaningless. It’s a series of frame-able images that, had they not been ruined by the shear carelessness of Argento’s storytelling, I may have considered as potential wall decoration. As for the acting, it’s actually tolerably subtle. The one arena in which there are no theatrics, Argento exhibits the kind of experience that can only be accumulated through watching a master work year after year, and the supporting performers, perhaps with the exception of young Bennett who just hasn’t quite developed the chops necessary to endure excessive torture, are generally watchable. It’s most difficult to say what Argento is attempting to achieve; it is less so to declare it a failure in all regards. There is no hope, no life, and no depth or dimension to the torpidly drawn characters. In fact, I was able to find much more comfort in the go-to cinematic depressant Schindler’s List. Perhaps her goal is to suggest that some parents shouldn’t be allowed to parent at all. I submit that some filmmakers shouldn’t be allowed to make films at all, and Argento (the younger) is among them.
]]>Sat, 19 Jan 2008 01:14:09 GMTsolafekxelasolafekxela Blog1/18/2008 8:14:09 PMItalian filmmaker Dario Argento is considered the all time great horror maestro, with films like Suspiria and Inferno on his resume. HIs daughter, Asia Argento, is an aspiring young filmmaker and actress with a few films under her belt. Her latest, with a title as agonizingly interminable as the film itself, is a near-shameful entry into the oeuvre of her family. It&rsquo;s torture porn meets melodrama meets senseless violence meets, well, porn. There is not one image in The Heart is Deceitful Above All Things that did not disturb, annoy, or offend me. Based (loosely, I presume) on a short story by J.T. LeRoy, Argento&rsquo;s film stars herself as an irresponsible teenage mother and Jimmy Bennett as Jeremiah, her seven-year-old son dragged from the comparatively heavenly foster home and thrust into a world of sexual and physical abuse. No film excites me more than one that sets out to toss countless disturbing images at my face for unidentifiable reasons. Schindler&rsquo;s List portrays offensive events and images because it&rsquo;s telling the true story of the Holocaust; Argento is like a kid at a carnival game, aimlessly tossing darts with the hope of finally hitting one emotion-filled baloon. Instead, I was the little specimen of inflatable latex in the corner defiantly refusing to pop. Having said that, it is claimed that LeRoy based the story (again, presumably loosely) on some aspects of his childhood. I pray for his soul. The reason I resort to perhaps unjustified assumptions about the faithfulness of the adaptation is that the way Argento presents the events implies that anyone who endured them would be too emotionally scarred to be able to relive them as catharsis. It&rsquo;s endlessly painful to watch, and Argento&rsquo;s motivation for telling such a macabre tale is mystifyingly undefined. The film can be considered a road movie that follows Sarah, the mother, teaching young Jeremiah (Biblical reference explicitly intended) about the evils of the world. How so? Well, her boyfriend rapes him, she introduces him to the magic of drugs and alcohol, and her fanatically religious family leaves the poor child mentally and physically nonplussed. All this sounds like fantastic entertainment, sure, but Argento&rsquo;s desired end is wholly nebulous. In fact, I&rsquo;m not entirely sure she has one, other than the conspicuous manipulation found in her many failed attempts to strike a random emotional chord and lyrically suck you into the soulless story. I can see where some would find the alarmingly expressive cinematography enchanting, but I found it distracting and, frankly, meaningless. It&rsquo;s a series of frame-able images that, had they not been ruined by the shear carelessness of Argento&rsquo;s storytelling, I may have considered as potential wall decoration. As for the acting, it&rsquo;s actually tolerably subtle. The one arena in which there are no theatrics, Argento exhibits the kind of experience that can only be accumulated through watching a master work year after year, and the supporting performers, perhaps with the exception of young Bennett who just hasn&rsquo;t quite developed the chops necessary to endure excessive torture, are generally watchable. It&rsquo;s most difficult to say what Argento is attempting to achieve; it is less so to declare it a failure in all regards. There is no hope, no life, and no depth or dimension to the torpidly drawn characters. In fact, I was able to find much more comfort in the go-to cinematic depressant Schindler&rsquo;s List. Perhaps her goal is to suggest that some parents shouldn&rsquo;t be allowed to parent at all. I submit that some filmmakers shouldn&rsquo;t be allowed to make films at all, and Argento (the younger) is among them. http://www.spout.com/blogs/spoutblog/archive/2007/6/21/11592.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/21/2007 2:01:10 PM
Body: Here's another one for the horror fans: The House Next Door contributor Kevin Lee is producing a series of video essays based on this definitive list of the 1,000 Greatest Films. His most recent installment tackles Inferno, Dario Argento's horror classic about architecture, identity, and death-by-cats. In Lee's mind, Argento's style contains "a touch too much camp in its perversity to be truly horrifying." He instead "locates [his] pleasure" in Argento's emphasis on place and space, recasting Inferno as something like "a horror version of an Antonioni movie." But whereas Antonioni was concerned with the psychology of his wandering women, Argento's female protagonists, though similarly traumatized, are little more than graphic elements, "as abstract as the concept of red or blue." It's really fascinating stuff. You can check out all of Lee's videos here, or read his blog here. Originally posted on:SpoutBlog
]]>Thu, 21 Jun 2007 18:01:10 GMTSpoutBlogSpoutBlog on spout.com6/21/2007 2:01:10 PM Here's another one for the horror fans: The House Next Door contributor Kevin Lee is producing a series of video essays based on this definitive list of the 1,000 Greatest Films. His most recent installment tackles Inferno, Dario Argento's horror classic about architecture, identity, and death-by-cats. In Lee's mind, Argento's style contains "a touch too much camp in its perversity to be truly horrifying." He instead "locates [his] pleasure" in Argento's emphasis on place and space, recasting Inferno as something like "a horror version of an Antonioni movie." But whereas Antonioni was concerned with the psychology of his wandering women, Argento's female protagonists, though similarly traumatized, are little more than graphic elements, "as abstract as the concept of red or blue." It's really fascinating stuff. You can check out all of Lee's videos here, or read his blog here. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/ghost/MemberTagFilms.aspxghost
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