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Inferno is a 1980 Italian supernatural horror film, written and directed by Dario Argento. The film stars Irene Miracle, Leigh McCloskey, Eleonora Giorgi, Daria Nicolodi and Alida Valli. The cinematography was by Romano Albani and Keith Emerson composed the film's musical score. The story concerns a young man's investigation into the disappearance of his sister, who had been living in a New York City apartment building that also served as a home for a powerful, centuries-old witch.

Inferno
French theatrical release poster
Directed byDario Argento
Produced byClaudio Argento
Screenplay byDario Argento
Based onSuspiria de Profundis
by Thomas De Quincey
StarringEleonora Giorgi
Gabriele Lavia
Veronica Lazar
Leopoldo Mastelloni
Irene Miracle
Daria Nicolodi
Sacha Pitoeff
Alida Valli
Leigh McCloskey
Music byKeith Emerson
CinematographyRomano Albani
Edited byFranco Fraticelli
Production
company
Produzioni Intersound
Distributed by20th Century Fox
Release date
  • 7 February 1980 (1980-02-07)
Running time
107 minutes
CountryItaly
LanguageItalian
English
BudgetUSD$3,000,000

A thematic sequel to Suspiria (1977), the film is the second part of Argento's Three Mothers trilogy. The long-delayed concluding entry, The Mother of Tears, was released in 2007. All three films are partially derived from the concept of "Our Ladies of Sorrow" (Mater Lachrymarum, Mater Suspiriorum and Mater Tenebrarum) originally devised by Thomas de Quincey in his book Suspiria de Profundis (1845).

Unlike Suspiria, Inferno received a very limited theatrical release and the film was unable to match the box office success of its predecessor. While initial critical response was mostly negative, its reputation has improved considerably over the years. Kim Newman has called it "perhaps the most underrated horror movie of the 1980s." In 2005, the magazine Total Film named Inferno one of the 50 greatest horror films of all time.

Screenplay

Rose Elliot (Irene Miracle), a poet living alone in New York City, finds an ancient book titled The Three Mothers. The book, written by an alchemist named Varelli, tells of three evil sisters who rule the world with sorrow, tears, and darkness, and dwell inside separate homes that had been built for them by the alchemist. Mater Suspiriorum, the Mother of Sighs, lives in Freiburg. Mater Lachrymarum, the Mother of Tears, lives in Rome, and Mater Tenebrarum, the Mother of Darkness, lives in New York.

Rose suspects that she is living in one of the buildings and writes to her brother Mark (Leigh McCloskey), a music student in Rome, urging him to visit her. Using clues provided in the book as a guide, Rose searches the cellar of her building and discovers a hole in the floor which leads to a water-filled ballroom. She accidentally drops her keys and enters the water to find them. After she reclaims the keys, a putrid corpse suddenly rises from the depths, frightening her. Rose manages to get away, but is being watched.

In Rome, Mark attempts to read Rose's letter during class. He is distracted by the intense gaze of a beautiful student (Ania Pieroni), who leaves suddenly; Mark follows, leaving the letter behind. His friend Sara (Eleonora Giorgi) picks up the letter, and later reads it. Horrified by the letter's contents, she takes a taxi to a library and finds a copy of The Three Mothers. Sara is attacked by a monstrous figure who recognizes the book. She throws the book to the ground and escapes. Returning to her home, she phones Mark telling him to come and asks a neighbour, Carlo (Gabriele Lavia), to keep her company. The lights suddenly go out and both Sara and Carlo are stabbed to death by a gloved killer. Mark discovers the bodies and two torn fragments from Rose's letter. After the police arrive, he walks out of Sara's apartment and sees a taxi slowly driving by. In the back seat of the vehicle is the music student, staring at him intently again.

Mark telephones Rose but is unable to hear her clearly. He promises to visit just before the connection fails. Rose sees two shadowy figures preparing to enter her apartment. She leaves through a back door, but is followed. She is grabbed from behind by a clawed assailant and brutally guillotined across the neck with glass from a broken window.

Arriving in New York, Mark goes straight to Rose's building, where he meets Carol (Alida Valli), the concierge, and some of the residents, including a nurse (Veronica Lazar) who cares for elderly Professor Arnold (Feodor Chaliapin, Jr.), a wheelchair-bound mute. Mark encounters the sickly Countess Elise De Longvalle Adler (Daria Nicolodi), who tells him that Rose has disappeared. After the two find blood on the carpet outside Rose's room, Mark follows the stains. He becomes ill and falls unconscious. Elise sees a black-robed figure dragging Mark away, but the figure suddenly stops and gives chase to Elise. The figure eventually finds her swarmed with rabid cats in a room and stabs her to death. Mark staggers to the house's foyer where Carol and the nurse put him to bed.

Mark asks Kazanian (Sacha Pitoëff), the antique dealer who sold Rose The Three Mothers, about his sister's whereabouts. However, the man provides no information. That night, Kazanian drowns several cats in a Central Park pond and falls into the water. Hundreds of rats from a nearby drain crawl over him, gnawing his flesh. A hot dog vendor hears Kazanian's cries and rushes over, but proceeds to kill him with a knife. More strange deaths occur in the building, when Carol and Elise's butler, John (Leopoldo Mastelloni), plot to take advantage of the Countess' death by stealing her valuables. But a shocked Carol finds John's corpse in Elise's apartment, and drops a lit candle which starts a fire. Attempting to put out the flames, she becomes entangled in burning draperies and falls from a window to her death.

Mark uses a clue from Rose's letter to discover that beneath each floor is a secret crawl space. He follows hidden passages to a suite of rooms where he finds Professor Arnold who reveals, via a mechanical voice generator, that he is in fact Varelli. He tries to kill Mark with a hypodermic injection. During the struggle, Varelli's neck is caught in his vocal apparatus, choking him. Mark frees him, only to be told by the dying man, "Even now you are being watched." Mark follows a shadowy figure to a lavishly furnished chamber, where he finds Varelli's nurse. Laughing maniacally, she reveals to him that she is Mater Tenebrarum. She suddenly transforms into Death Personified. However, the fire that has consumed much of the building enables Mark to escape from the witch's den. Debris crashes down on the fiend, destroying her.

In 1977, Suspiria had been an unexpectedly big box office hit for 20th Century Fox, released in the U.S. under their "International Classics" banner. Capitalizing on the commercial success of the film, Argento and Daria Nicolodi, who had co-written the screenplay, announced that Suspiria was only the first of a proposed trilogy which they referred to as "The Three Mothers" trilogy. The basic concept of all three films is derived from Thomas de Quincey's Suspiria de Profundis, a sequel to his Confessions of an English Opium-Eater. A prose poem of the book entitled "Levana and Our Ladies of Sorrow", details how, just as there are three Fates and three Graces, there are also three Sorrows: Mater Lachrymarum (The Lady of Tears), Mater Suspiriorum (The Lady of Sighs) and Mater Tenebrarum (The Lady of Darkness). As the title suggests, Suspiria focused on Mater Suspiriorum; the evil sister featured in Inferno is Mater Tenebrarum. The concluding chapter of Argento's trilogy, The Mother of Tears (2007), is about Mater Lachrymarum.

When Argento proposed Inferno as his follow-up to Suspiria, 20th Century Fox agreed to co-finance the production. The film was budgeted at USD $3,000,000, and producer Claudio Argento secured additional co-production money from Italian and German consortia.

Nicolodi devised the original story concept but received no on-screen credit for her work on the screenplay. Nicolodi explained that she did not seek credit because "having fought so hard to see my humble but excellent work in Suspiria recognized (up until a few days before the première I didn't know if I would see my name in the film credits), I didn't want to live through that again, so I said, 'Do as you please, in any case, the story will talk for me because I wrote it.'" Working from Nicolodi's original story notes, Argento wrote the screenplay while staying in a New York hotel room with a view of Central Park.

Filming

The filming of Inferno took place mainly on interior studio sets in Rome, but a short amount of time was also set aside for location shooting in New York, including Central Park. Sacha Pitoëff's death scene was filmed on location in Central Park during the summer of 1979. William Lustig, who was credited as the film's Production Coordinator, recalled,

They filmed the actor carrying a bag that contained some kind of moving mechanism, to make it look like it was full of cats. He walked into the lake, pushed the bag underwater, and fell in. At that point, some phony mechanical rats were attached to him for closeups. When the guy at the hamburger stand runs over the lake... that guy was actually running on a plexiglass bridge under the water; it made it look like he was actually running across the surface of the lake. All of the stuff with the live rats was shot back in Europe.

During the film's production, Argento became stricken with a severe case of hepatitis---and had to direct some sequences while lying on his back. At one point, the illness became so painful that he was bedridden for a few days; filming was then restricted to second unit work, some of which was done by Mario Bava. Argento has called Inferno one of his least favorite of all his films, as his memories of the movie are tainted by his recollection of the painful illness he suffered.

Design and effects

Argento invited his mentor, Mario Bava, to provide some of the optical effects, matte paintings and trick shots for the film. Some of the cityscape views seen in Inferno were actually tabletop skyscrapers built by Bava out of milk cartons covered with photographs. The apartment building that Rose lived in was in fact only a partial set built in the studio—it was a few floors high and had to be visually augmented with a small sculpture constructed by Bava. This sculpture was set aflame toward the end of production and served as the burning building seen in the climax.

Bava also provided some second unit direction for the production. Maitland McDonagh has suggested that Bava had his hand in the celebrated watery ballroom scene, but that sequence was shot in a water tank by Gianlorenzo Battaglia, without any optical effects work at all. Bava's son, Lamberto Bava, was the film's assistant director.

The film's fiery final sequence was shot without a stunt performer filling in for Leigh McCloskey. After the production's principal photography had been completed, the film's producer, Claudio Argento, asked if McCloskey would be willing to perform the stuntwork himself, as the stuntman hired for the job had broken his leg. The producer assured the actor: "It'll be absolutely safe". The actor agreed, and when he walked onto the set the following day he observed "three rows of flexiglass in front of everything and everyone is wearing hard hats. I'm the only guy standing on the other side of this! ...Needless to say, I did it all on instinct... I still feel that blast of the door blowing by me. When they tell you in words, its one thing, but when you feel that glass go flying past you with a sound like a Harrier jet, you never forget it!"

Music

Main article: Inferno (soundtrack)

Dario Argento chose progressive rocker Keith Emerson to compose Inferno's soundtrack because he "wanted a different sort of score , a more delicate one".

Argento prominently featured a selection from Giuseppe Verdi's Nabucco throughout Inferno, the Chorus of the Hebrew Slaves ("Va, pensiero, sull'ali dorate"), an operatic chestnut, from scene two of the opera's third act. In two instances, a recording of the Sinphonic Orchestra and Chorus of Rome was used.Inferno 1980 Film

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