Dario Argento’s Inferno is the most abstract, expressionistic and nearly incomprehensible entry in his Witch trilogy, like oil and blood smeared on canvas haphazardly to create something just this side of the conscious realm. The other two films, Suspiria and Mother Of Tears, each have their place in the story, with this one doing middle chapter duties, but really they all work better as standalone films more than anything cohesive. While the film clings loosely to the idea of two college students investigating separate Witch covens in both Rome and New York, that’s just the baseline for a petrifying, beautifully surreal mood piece full of thumping psychedelic music by Claudio Simonetti and Goblin, and episodic set pieces of bizarre dreamlike horror. Argento is the undeniable king of lighting and atmosphere, and although other areas of the work like story, dialogue and acting suffer, it’s easy to look past that and get swept up in his magnificent visions. Unearthly light and wind ripples over the hair of a gorgeously enchanting witch who holds a cat and and stares down one of the protagonists in a lecture hall. An eerie full moon possesses one man trying to drown a bag of cats, and a butcher knife wielding whacko. A woman descends underwater into a flooded derelict building and discovers a bloated corpse floating there in the film’s most harrowing scene. Argento’s films are less about the rhyme and reason, more about the feeling of it all than anything else, very much like dreams. Inferno is one of his very best, a feverish madhouse of light, colour, operatic violence and hypnotic music.
Podcasting Them Softly is extremely proud to present a Special Edition CINEMATOGRAPHER’S CORNER POWERCAST with director of photography Salvatore Totino. For the last 16 years, Salvatore has been shooting films for an extremely impressive roster of filmmakers. Oliver Stone drafted him for his big-screen debut on ANY GIVEN SUNDAY, which catapulted him into the top ranks of working cinematographers after he displayed an aggressively visceral camera style on Stone’s gridiron epic. He was then scooped up by Ron Howard and over the years he’s shot seven films for him, including all three Robert Langdon adventures – THE DAVINCI CODE, ANGELS AND DEMONS, and next year’s INFERNO, as well as the historical drama FROST/NIXON, the revisionist western THE MISSING starring Tommy Lee Jones and Cate Blanchett, and the relationship comedy THE DILEMMA. Other credits include moody and stylish work on Roger Michell’s underrated drama CHANGING LANES, and later this fall, he has two big films coming out in theaters – the star-studded mountain climbing adventure EVEREST and the NFL brain-trauma expose CONCUSSION, which stars Will Smith, Gugu Mbatha-Raw, Alec Baldwin, David Morse, and Albert Brooks. Welcome to the show Salvatore, it’s an honor to get a chance to speak with you!