The immense love for Dario Argento’s visually mesmeric horror film Suspiria (1977) has in some ways overshadowed that it is actually part of the Three Mothers Trilogy – a thematic grouping more akin to the Three Flavours Cornetto Trilogy from Edgar Wright than a more traditional franchise. Both written and directed by Argento, Inferno was released three years after the original. . . for those curious, the long delayed bookend, The Mother of Tears, only came to life in 2007.
Carrying forward a similar vibe and flair as the first feature, Inferno, instead of being set in Germany, takes place between New York and Rome. Starting in the Big Apple, young poet Rose Elliott (Irene Miracle) seems to be living quite the life for someone so young. . . as the apartment she resides in would even make the cast of Friends jealous.
A collector of ancient tomes – mostly bought from the rather decrepit antique dealer Kazanian (Sascha Pitoëff – Patrick Still Lives), she becomes entranced by a mysterious writing centred on witches entitled “The Three Mothers”. Taking root in her brain, it starts to make rather unusual connections to what she is seeing daily in her own fantastical apartment building. . . but, if that is the case, that might not be a good thing.
Sending a letter to her musically inclined brother at university in Rome, Mark (Leigh McCloskey), odd happenings seem to be occurring in The Eternal City as well. . . including a rather witchy woman with a cat who has her eye on him in one of his classes (Ania Pieroni). Eventually, he makes his way across the Atlantic, looking to reconnect with his sister. . . but she cannot be found. Could she have actually stumbled upon something in the historic building she lives in? If so, might something have happened to her? Will Mark, along with Countess Elise De Longvalle Adler (Daria Nicolodi – Argento’s partner at the time and an uncredited writer of the story) – who he meets upon his arrival at the building, be able to solve the vexing mystery?
Filled with rather unusual workers and residents: like Carol the caretaker (Alida Valli – Suspiria), a nurse (Veronica Lazar) looking after the wheelchair bound mute Professor Arnold (Feodor Chaliapin Jr.), as well as a black gloved cleaner (in more of a giallo killer type of way), that’s only half of the horror, as the crumbling gothic structure is more like a menacing maze than anything else. And on top of that the threat of some sort of eternal witch, hence the odds are most definitely stacked against Mark.
In many ways channeling a similar essence to Suspiria, the cinematography is still utterly stunning (though a tad more neutral in its tones), the story eerie, and the surrealist atmosphere chillingly elusive. . . though its biggest flaw could be argued to be its rather loose plot. Despite that, set pieces like a basement hole pooling with water (it becomes much deeper than originally thought – seemingly more like a ballroom); an overwhelming library that leads to something like an alchemist’s den only to continue from there; and nearly everything set within the New York structure, helps capture a mystifying aura.
Though not as flawless as the original, Inferno is a worthy follow-up that fans of Argento and Suspiria will enjoy. Filled with creepy cat themes, both rat and infestations, and even the fire promised in the title, all of this is sure to play into the fears that make horror movies memorable. It’s also worth noting that giallo and horror legend Mario Bava aided on set with special effects and even some directing. . . the man passing away shortly before its release. Lastly, another little known fact finds Keith Emerson of Emerson, Lake, and Palmer fame composing and performing the eccentric score – sometimes sounding Wagnerian, at other points, more based in his rock roots. So, don’t let this fiery sequel fall in the debris pile; it will cast a perplexing spell on you.