After witnessing the murder of a famous psychic, a musician teams up with a feisty reporter to find the killer while evading attempts on their lives by the unseen assailant bent on keeping a dark secret buried.
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.
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.
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 <firstname.lastname@example.org>
Twentieth Century Fox co-financed the film because it's predecessor Suspiria (1977) had been quite a successful film for their company. However, Fox was not the only financier. Producer Claudio Argento acquired additional financing from German and Italian consortiums. See more »
Towards the beginning, when the character played by Irene Miracle is swimming through the lost cellar room, she clearly is not wearing a bra; however, a few minutes later, after surfacing and returning to the building lobby, you can see that a bra has magically appeared under her dress. See more »
Have you ever heard of the Three Sisters?
You mean those black singers?
No, I'm talking about mythology.
Hold on, if you're talking about spooks and stuff, I don't believe in any of that.
How can you be so sure?
I don't believe in such things, that's all, and without any philosophical discussion.
Then what do you believe in?
In whatever I can see and touch.
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This is a film about witches, ancient alchemy, and death. The atmosphere is Gothic and medieval. But the setting is modern. Most scenes take place in small, stylish interior spaces. For lighting, Argento uses the glow from indirect sources (mostly blue, red, and orange hues), and alternates this with darkness. In combination with the lighting, the film's sound effects, which alternate with silence, are appropriately spooky. And Keith Emerson's soundtrack, with all that organ music, contributes to the Gothic tone. One of the best parts of the entire film is the rock-opera opus from the chorus at the film's end, with that great beat, and lyrics that are indecipherable.
The nightmarish atmosphere, while maybe not quite as stunning as in "Suspiria", is more than adequate to induce suspense, anticipation, and a sense of danger. From out of the darkness and stillness comes "death", in all its horrific cruelty. As a "horror" film, "Inferno" is fairly pure, in that the plot is more or less self-contained. There are only brief references to the "real" world, outside the confines of the story.
The film's plot is indeed thin, and functions really as an excuse for the actors to move from one atmospheric set to the next. The script does not require great acting skills, mercifully, since great acting is nowhere to be found.
Of the various Argento films I have seen, "Inferno" is perhaps my least favorite. It does not have the conviction of Argento's other works. It seems more like a half-hearted sequel, an afterthought, to "Suspiria". Like most sequels, I find it less satisfying than the original, the soundtrack notwithstanding. Still, for Argento fans, "Inferno" is a must-see, if for no other reason than for purposes of comparison.
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