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Inferno
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Directed by Dario Argento.
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
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Dr_GorDr_Gor Re: Italian Horror....
by Dr_Gor in HORROR MOVIES 101
liked it.
"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 an ... " [More]
solafekxelasolafekxela The Heart is Lifeless, Cold, an ...
by solafekxela in solafekxela Blog
hasn't rated it.
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"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 po ... " [More]
SpoutBlogSpoutBlog Clip of the Day: Kevin Lee on D ...
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
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"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 " [More]
Review by All Movie Guide
All Movie Guide
lost interest.
Though confusingly plotted, director Dario Argento's Inferno is a stylish, scary thriller that is considered a semi-sequel to Argento's Suspiria. While Inferno does not come close to that 1977 classic, it is significant for its collaboration of two Italian masters of cinema: Argento and Mario Bava, who helped to design several great set pieces and created the transformation scene at the film's conclusion. As with most of Argento's pictures, the visuals leave the strongest impression, especially when combined with the fantastic sound effects. One great shot depicts the killer approaching the camera in the distorted reflection of a broken doorknob. Another arresting image is that of a woman's body tearing through a curtain and falling at star Leigh McCloskey's feet. The murders themselves are brutal, but beautifully shot and impossible to turn away from. Irene Miracle's killing at the hands of the faceless killer is exceptional: He pulls her across a window frame and forms a crude guillotine with the pane of glass serving as a blade. Argento's script is very strong conceptually and features a great ending, but his weaknesses lie in the logic and sequencing. Early scenes jump confusingly from New York to Rome and characters aren't always well defined. Another negative is that the cast is bland, and often appear to be onscreen simply to serve one bloody purpose: to kill or be killed. All that aside, the film as a whole maintains a strong visual impact (such as cats darting into the shadows or a striking young woman stroking a cat in McCloskey's music class) that all work to carry the film. The mystery at the film's core -- the identity of the Three Mothers -- is compelling, and Argento and Bava's collaboration to create the fiery finish does not disappoint. ~ Patrick Legare, All Movie Guide
 



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