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 who 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>
'Inferno' is the kind of movie - like Gilliams 'Brazil' - where a few of us will leave the theater enriched by the experience, but there's also the sour-faced crowd dismissing it as the worst crap ever.
I came upon Argento's movies just recently, looking for good horror films. Now I've enjoyed Suspiria, Tenebre and Inferno. At first his original style came as a shock. I can understand those that, accustomed to hollywoodian narrative, find his movies to be full of faults. I wouldn't even recommend them if you're looking for 'ordinary', mainstream horror.
'Suspiria' reminded me of the 1933 'Vampyr' by danish director Carl Dreyer. 'Inferno' has echoes of German director Fritz Lang, for instance his 1933 The 'Testament of Doctor Mabuse'. Much of the Argento way of doing things has a silent movie era feel to it. The acting is visually exaggerated, and the dialogue is often wooden - the awful dubbing of english voices in the versions I saw added to this effect.
Argento makes different choices. The music, for instance, is not adding atmosphere as a soundtrack - it is a full frontal assault, meant to be noticed and impossible to ignore. The cinematic choices of camera angles, lightning and so on are stylish and unique in their unrelenting artistic ambition. I can't even begin to describe the style. Even if I mentioned Dreyer and Lang, Argento is more expressionist than impressionist, but for lack of good words I'll shut my mouth about this subject.
I have to defend Argento against the claims that 'Inferno' has an incoherent plot. It simply doesn't - the story is fairly straight and linear. The evil depicted is not rational, and we are often left in the dark as to the acts and motives of the evil forces. But this is part of the horror and suspense. I won't go into more details about the plot, as there are many excellent user comments here, and this is not really a review, just some comments.
Some parts of 'Inferno' are pure beauty - exact scenes, feeling more like a storyboard coming to life in the imagination than as a real movie. The design of the house of the second Mother is fascinating - modern and medieval at the same time.
Finally, some individual scenes are truly scaring, which is rare in horror movies - especially the underwater scene.
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