The film that is about to be reviewed is 1 hour and 46 minutes long. It is being featured because it is the first sequel to one of the greatest horror movies of all time, Dario Argento's "Suspiria" (Luca Guadagnino's 2018's re-imagining of this film is worthwhile as well). As I established in my blog, "Kickboxer: Retaliation" How to Warrant 110 Minutes and I, the Retarded Garland", a sequel can deserve more time than its predecessor because we want the previous world to be expanded. This is a far better example of the concept than the "Kickboxer" franchise. With that said, I am still shivering in anticipation for the conclusion to the latest Kurt Sloane trilogy.
European directors tend to want to capture everything on film. Many times, they shoot to the point of boredom. Francois Truffaut's "The 400 Blows" is beautiful, but it takes forever to get going. Nothing of notes happens in that film's first half. It is like watching a Monet dry. We appreciate it, but we want to load it on the truck now.
Italian horror and its godfather Dario Argento (perhaps the most subtle of the genre's directors) have similar tendencies. Argento is in love with his vision (He is never afraid to tell critics and actors that.), but the stories he offers to express it can be hit or miss. Fortunately, he would rather show a gimp being eaten by rats than a child on a carnival ride playing hooky. If only Truffaut would have had the child ground in the centrifuge's gears.
"Inferno" is the story of the youngest and cruelest of the three mothers, Mater Tenebrarum (Mother of Darkness). Rose is a poet that lives in an old building in New York whom, after reading the book "The Three Mothers", suspects she is living in that witch's home. She puts it upon herself to explore the building's basement where she finds an underwater ballroom with a corpse floating around in it. This leaves her desperate for her brother Mark to return from Rome to help unravel the mystery.
Unbeknownst to Rose, Mark is dealing the mystery that is Mater Lachrymarum (Mother of Tears) the most beautiful and powerful of the mothers. After receiving the letter from his sister, he seems to be stalked by that witch, and his friend are becoming her latest victims.
Can these modern siblings solve the mystery behind these grisly occurrences, or are they going to be additional casualties to the ancient sisters' evil ways?
"Inferno" does not offer much when it comes to story. The tale establishes that all the characters are seen as disposable, so we will wait around to see who makes it out alive. Any other narrative shortcomings are conquered by Argento's directorial style, and his efforts in creating beautiful and nightmarish visuals are remarkable.
The submerged ballroom (His homage to his once one of a kind classic "Suspiria's" use of bright and limited primary colors) and effects inspired by Mario Bava, justify filming the entire feature in Rome. This effort is as valid as Jeff Bridges's performance being the only reason to see "Crazy Heart". Talent can conquer almost any limitations.
If there is a genuine reason to be disappointed, it is that it may not be shocking enough when it is compared to other Italian horror legends like Lucio Fulci. There are no victims who fight back, and little worthwhile gore. It is artistic, but not disgusting.
This is an Italian film. We deserve at least an image that reminds us of "Zombi 2". It must be why "Mother of Tears" was so over the top. Argento was apologizing for the lack of nightmare future in that film's predecessors.
If you are a fan of sheer directorial talent, Dario Argento's "Inferno" is a prime example of what can be done with only a premise. Argento is a demanding auteur who may have been a generation too old to serve as an ideal music video director. If only he could have got into that realm of film making if only to bury Russell Mulcahy in the sands that his feature find so necessary to feature.
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