Inferno

My overall impression is a bit hesitant because Inferno is a considerably uneven film. On one hand, its impressiveness, style, and atmosphere cannot be denied, but on the other, it gives the impression of being confused in many aspects, so confused that I doubted the director's intention - it seems more like the magic of randomness worked. The film resembles a confused dream, a nightmare that troubles us shortly before awakening. A good choice for horror fans, but supporters of a clear plotline and explanatory endings should stay far away from Inferno. Overall impression: 60%. (2009-10-09)

Inferno really has captivating visuals, and some scenes are so ‘beautiful’ they strongly imprint the viewer’s memory. The problem lies in the non-action. Here, a simple theme extends across several episodes, in which the characters are getting slaughtered throughout long and tortuous sequences. But the storyline doesn’t go anywhere. Compared to its predecessor, Inferno also lags behind in terms of actor performance and music. Still, it’s definitely worth seeing. (2018-06-04)

Visually, this is probably Argento’s most intoxicating and beautiful film. A surreal atmosphere, beautiful colours and so little of a story that it could fit on a pinhead. I didn’t like Inferno at first, like Suspiria, but a second viewing helped me appreciate it. A piece of advice: if you’re beginning with old horror stuff from Italy, leave Argento’s witch flicks for last. Inferno is really beautiful, but there could really have been at least a little bit more of a plot, hence the four stars. (2008-06-30)

In his most expensive and most daring film, Dario Argento completely detached himself from reality and created his own phantasmagorical universe in which he gave full rein to his horror fantasies. The interior of the hotel, where most of the action takes place, is architecturally nonsensical and resembles more of a theatre stage, constantly flooded with garishly coloured lights coming from nowhere. The main characters, who change every twenty minutes, are just helpless pawns in the hands of malevolent forces and die in very unlikely, yet visually arresting ways. To evoke a dreamlike logic, Argento even instructed the actors to behave in front of the camera in a way they normally wouldn't. Inferno has been criticized by many for its incoherent and absurd plot, stupid dialogue and terrible acting. Others see it as a remarkable autobiographical dream piece in the tradition of Fellini. According to Argento, it is one of his most honest and purest films, but one that he doesn't have very good memories of. Due to a serious illness, he had to direct some scenes lying down, and was even replaced a few times by the famous Mario Bava, who was in charge of the second crew (he shot, for example, the famous scene in the flooded ballroom). The result is a pure horror symphony whose strength lies in Argento's visual virtuosity, surreal production design and a roaring rock-opera soundtrack. (2023-09-07)

The story isn't the strong point of this film, but it's the captivating atmosphere that draws you in. Dario Argento presents you with incredible images and intriguing scenes and often gets by without many words. He lets you drown in silence, or opts for an ecstatic and nerve-racking musical accompaniment. He knew very well how to evoke horror, and Inferno is just another beautiful example of that. The interiors and exteriors are utilized to an incredible extent in favor of horror, which somewhat nods to Polanski but also to gothic horror. I need to finish the whole trilogy sometime to verify if, after the year 2000, Dario completely lost his power and taste. (2014-11-01)