A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
A young man tries to help a teenage European girl whom escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
Young poetess Rose Elliot buys a book from a local antique dealer, a diary in Latin of an architect, E. Varelli. She learns of the Three Mothers, and believes her apartment building is one of their houses. She pleads her brother Mark, who is studying musicology in Rome, to come, because she is afraid. Mark's friend Sara reads her letter, which he left behind in class, and discovers the school is run by the Mater Lacrimarum, and is murdered for this knowledge. The house of Mater Suspiriorum has already been destroyed, and by the time Mark arrives in New York City, he is investigating his sister's murder. Written by
Scott Hutchins <email@example.com>
Mario Bava is credited with creating the design of Rose Elliot's unique apartment building. Bava also built the small-scale model that was burned in the films fiery climax. See more »
The scene at Central Park takes place during a lunar eclipse. However, the eclipse mimics the aesthetic characteristics of a solar eclipse with the Moon being completely blacked out, surrounded by a corona, just as if something had moved between Earth and Moon. However a real lunar eclipse doesn't appear to be pitch black but as a dark reddish layer and there certainly isn't a corona which is a feature of the sun. See more »
Inferno is Dario Argento's masterpiece. For once, he abandoned the idea of a coherent storyline altogether and made a movie that is simply a series of beautifully made setpieces. Many people have criticized Inferno's plot; such people are completely missing the point. Inferno is no more concerned with plot than Luis Bunuel was with movies such as The Phantom of Liberty; where Bunuel was concentrating on images and ideas, Argento is concentrating on images and emotion, specifically fear.
Each scene features a character or characters running afoul of the Three Mothers, entities introduced obliquely in Argento's previous movie, Suspiria, and developed considerably here. The third movie in the Three Mothers trilogy remains unmade. Each scene is carefully coded by judicious use of colour and sound. All the best setpieces in the movie feature no dialogue whatsoever (most notably the scenes in the underwater chamber and the lecture theatre). Much of the most significant dialogue is whispered offscreen by unseen persons.
Inferno is that rarest of breeds: pure cinema. Not only could it not have succeeded in any other medium, it cannot be adequately described in words. Anyone who is seriously concerned with artistic cinema must see this movie, as should most horror fans. Anyone who has trouble getting their head around movies that push beyond the conventional three-act storyline will almost certainly hate it.
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