| A crippled book dealer (Sacha Pitoeff) falls into runoff water from a sewer in Dario Argento's Inferno. [click photo for larger version] |
While Inferno quite naturally complements the look and style established
in Suspiria, it's somewhat subdued by comparison, perhaps taking its cue
from Argento's deliberately paced mystery/thriller Deep Red, with which it
shares quite a bit (the protagonists share a passion for music, while their
vocations are both amusingly misinterpreted by women they meet; Gabriele
Lavia appears in both films as a character named "Carlo," and so on). But
while Deep Red resembled a dream in its stylization, Inferno functions
on the level of a nightmare in all respects. Disturbing, unexplained
images, such as a brief shot of a young woman hanging herself, occasionally
punctuate the on-screen action, while the characters find themselves unable
to react appropriately to the situations they encounter. Sara, for
instance, finds herself lost in a cavernous library. While seeking an exit,
she steps through a doorway into a room in which a sinister, robed figure is
stirring the boiling contents of a large, iron cauldron--one of several in
the room! Similar "dream" behavior permeates the entire film.
Whereas Deep Red and Suspiria
featured the loud, driving music of Goblin, Inferno showcases a score by
Keith Emerson (of the rock band Emerson, Lake & Palmer), whose contributions include electronic variations on
classical music (particularly that of Verdi, whom Mark and Sara are
studying) and a thunderous, rock-tempo hymn to the Three Mothers.
Inferno includes the final film work of Italian horror
grandmaster Mario Bava. Though uncredited on the print, Bava affixed his
stamp to the plentiful optical work on display. This was the only
collaboration between Bava and Argento, and those familiar with their
respective works will recognize this for a milestone. Lamberto Bava, son of
Mario and a noted genre director in his own right (Demons), had served as
assistant director to both his father and Argento in the past, and he does so
again here. The younger Bava also joins Argento for reminiscences (about his father and the making of Inferno) in a supplementary feature on the DVD.
Anchor Bay's DVD provides a fine, uncut widescreen (1:85:1) rendition of the
film in Dolby Digital Surround sound. While the casing suggests that this
is the first time the film has been released "uncut and uncensored," it's
not true: Key Video released the film intact on VHS some fifteen years
ago. But Anchor Bay's presentation is nevertheless definitive. A theatrical
trailer, a still gallery, and a biography section are included, as is a brief
introduction by Argento himself.
One footnote: the sequence of events in Suspiria and Inferno naturally leads the
viewer to anticipate a third installment, dealing with Mater Lachrymarum in
Rome. While a strong hint is dropped that it is none other than she who
makes two brief appearances in the Rome section of Inferno (in the guise
of Anna Pieroni), Argento has not completed the trilogy, and in all
likelihood, never will. Nevertheless, one attempt was apparently made to complete the trilogy for him! 1989's The Black Cat, directed by Luigi Cozzi (as Lewis
Coates), while allegedly based on the Poe story, was in fact an oddity which
concerned itself with filmmakers attempting to produce the story of the
"Mother of Tears," while acknowledging both Dario Argento and his film
Suspiria by name! Officially unreleased in the U.S. for over ten years,
the film surfaced without warning on the Sci-Fi Channel on July 1st of this
year (cut for TV, of course) in a remarkable coincidence, considering the
recent release of Inferno on DVD.