"I do not know what price I pay for breaking what we alchemists call" Silentium ". The experiences of our colleagues should warn us not to upset laymen. I Varelli, an architect who lives in London, I met the three mothers, and designed and built for them three houses: one in Rome, one in New York and the third in Freiburg. I did not discover until too late that from these three places, three mothers rule the world through the pain, tears and darkness. Suspiriorum Mater, Mother of Sighs, the oldest, lives in Freiburg. Lacrimarum Mater, the mother of tears, the most beautiful of the sisters, take direction from Rome. Mater Tenebrarum, the mother of darkness, the youngest and cruelest of the three New York controlling. And I built their homes horrible, disgusting secret deposits. Those so-called mothers, stepmothers are wicked indeed incapable of creating life, infamous sisters spawned in hell. The men were wrong to give these creatures a name as simple and terrifying. In fact, they were three sisters at the same time as mothers, as there are three muses, Three Graces, after parties and three furies. "
Following the overwhelming success of" Dark Red (Profundo Rosso, 1975), Dario Argento wanted to avoid the dreaded comparison to their next job by a totally different, not only his previous films but everything done before by any director. The key project was the treatment photographic image, a dream and chaotic mix
d e lights and shadows, cool colors and warm colors, extreme combinations distributed as a mosaic to start intense mixed feelings in the viewer. In collaboration with Luciano Tovoli, Argento was proposed to achieve a very dense color, similar to technicolor of the films of the Disney cartoons of the 30's, to recreate the claustrophobic atmosphere of unreality. Because the history of the three mothers is unreal in its purest form. Suspiria: Mater Suspiriorum
Suspiria (Suspiria, 1977, Italy)
Address: Dario Argento
Screenplay: Dario Argento and Daria Nicolodi
Photo: Luciano Tovoli
Music: Goblin and Dario Argento
Art Direction: Giuseppe Bassan
Cast: Jessica Harper, Stefania Casini, Jan Bennett, Udo Kier and Miguelito Bosé
Following the success of "The Exorcist" (William Friedkin, 1973), the figure of the devil's films won terror in a clear and constant, and viewers could enjoy the adventures of such 
horned character to the soup. A Dario Argento this diabolical fashion rather bored him because he did not take the character seriously, whip of Christianity to terrorize the populace. However, the subject of witchcraft was another story. A Dario Argento gave pretty scary witches, perhaps for all these psychological connotations that has the character, the most striking appearance of this frail old woman (reminiscent of our grandmother) and that you check the minimum four curses and it bothers you a lifetime. Well, taking as its starting point the subject of witchcraft and the figure of Mary Blavatsky (the inventor of Theosophy), Argento wanted to tell his version of "Snow White", played by actress Jessica Harper (who gave the note Music in Brian De Palma film "Phantom of the Paradise").
Suzy Bannon is a student who wants to improve his skills as a dancer at an academy in Freiburg, you see what happens, is home to one of the three mothers evil, Suspirorum Mater. Argento's original idea was that academy students were aged 12 years, but the production company flatly refused, because the script was
students n tortured by the teachers (the great witch acolytes) and thought that history could be very cruel. This setback was another opportunity to Argento to accentuate the film's touch of unreality, as had his characters act on a child and even changed the decor to the knobs and hinges of the doors were higher than normal, creating illusion that the young students were so small as a 12 year old girl. Besides his
innovative photography, there are several keys to the success of the film. On one side is the contrast between the magnificence and clearness of the exteriors and claustrophobic sets, t
ortuosos and labyrinthine interior spaces, artificially created from examples of Art Nouveau, an excellent work of the labor scenic Giuseppe Bassan. Among the first, emphasizes the beauty of the Plaza of the Three Temples of Munich, where he commits one of the greatest crimes of the film. But inside the house of the Mother of Sighs is a visual cacophony of hell, where every aisle is an enigma, and every room a death trap. Another key element of the film is the passion for the game, the enigma. Suzy Bannon and her friends from boarding school should find the exact location of the great witch room to survive, and to do so must find a solution to a riddle (they and the viewer). This aspect of the film, besides its entertainment value and entertainment, is reminiscent of the mythological tale, where tests and quizzes were the order of the day. The last key to the film is, of course, the fine offal, or scenes of violence and murder (by Sequenza lunga) synonymous with the omnipotent power of the evil witch. Nothing and no one escapes the control of the Mother of Sighs, and those who dare 
to truncate your wishes will be punished in the most gruesome and cruel there, no one can stop it. And here Argento comes out, as always, filled with scenes of sadism and graphic violence not suitable for all stomachs. However, Argento does not abuse such scenes, although the absolute and suffocating control of the evil witch is breathed from the first minute of film to create an atmosphere of tension as few (as I remember, in the movie there are only four scenes Violent, yes, very well done).
We can not forget the musical section, with a central theme that makes the hairs on end because it is a sinister version of a song child, or walking cane heavylonga Goblin, Argento fetish group, which emphasizes the sadism of the crimes of the film. Argento
swears that the three mothers trilogy was designed from the start, although many say that after the success of "Suspiria, Argento was pulled off the two remaining films to take advantage of the slipstream. Anyway, three years later opened the second part of the trilogy dell'occulto. "
Inferno: Mater Tenebrarum .
horned character to the soup. A Dario Argento this diabolical fashion rather bored him because he did not take the character seriously, whip of Christianity to terrorize the populace. However, the subject of witchcraft was another story. A Dario Argento gave pretty scary witches, perhaps for all these psychological connotations that has the character, the most striking appearance of this frail old woman (reminiscent of our grandmother) and that you check the minimum four curses and it bothers you a lifetime. Well, taking as its starting point the subject of witchcraft and the figure of Mary Blavatsky (the inventor of Theosophy), Argento wanted to tell his version of "Snow White", played by actress Jessica Harper (who gave the note Music in Brian De Palma film "Phantom of the Paradise"). Suzy Bannon is a student who wants to improve his skills as a dancer at an academy in Freiburg, you see what happens, is home to one of the three mothers evil, Suspirorum Mater. Argento's original idea was that academy students were aged 12 years, but the production company flatly refused, because the script was
students n tortured by the teachers (the great witch acolytes) and thought that history could be very cruel. This setback was another opportunity to Argento to accentuate the film's touch of unreality, as had his characters act on a child and even changed the decor to the knobs and hinges of the doors were higher than normal, creating illusion that the young students were so small as a 12 year old girl. Besides his innovative photography, there are several keys to the success of the film. On one side is the contrast between the magnificence and clearness of the exteriors and claustrophobic sets, t
ortuosos and labyrinthine interior spaces, artificially created from examples of Art Nouveau, an excellent work of the labor scenic Giuseppe Bassan. Among the first, emphasizes the beauty of the Plaza of the Three Temples of Munich, where he commits one of the greatest crimes of the film. But inside the house of the Mother of Sighs is a visual cacophony of hell, where every aisle is an enigma, and every room a death trap. Another key element of the film is the passion for the game, the enigma. Suzy Bannon and her friends from boarding school should find the exact location of the great witch room to survive, and to do so must find a solution to a riddle (they and the viewer). This aspect of the film, besides its entertainment value and entertainment, is reminiscent of the mythological tale, where tests and quizzes were the order of the day. The last key to the film is, of course, the fine offal, or scenes of violence and murder (by Sequenza lunga) synonymous with the omnipotent power of the evil witch. Nothing and no one escapes the control of the Mother of Sighs, and those who dare 
to truncate your wishes will be punished in the most gruesome and cruel there, no one can stop it. And here Argento comes out, as always, filled with scenes of sadism and graphic violence not suitable for all stomachs. However, Argento does not abuse such scenes, although the absolute and suffocating control of the evil witch is breathed from the first minute of film to create an atmosphere of tension as few (as I remember, in the movie there are only four scenes Violent, yes, very well done). 
We can not forget the musical section, with a central theme that makes the hairs on end because it is a sinister version of a song child, or walking cane heavylonga Goblin, Argento fetish group, which emphasizes the sadism of the crimes of the film. Argento swears that the three mothers trilogy was designed from the start, although many say that after the success of "Suspiria, Argento was pulled off the two remaining films to take advantage of the slipstream. Anyway, three years later opened the second part of the trilogy dell'occulto. "
Inferno: Mater Tenebrarum .
Inferno (Inferno, 1980, Italy)
Address: Dario Argento
Screenplay: Dario Argento
Photo: Romano Albani
Music: Keith Emerson
Art Direction: Giuseppe Bassan
Cast: Leigh J. McCloskey, Irene Miracle, Daria Nicolodi
Dario Argento is not heated much the head with this film and was it safe, repeating with a drawing pen outline the success of "Suspiria" with very few variations. Although Luciano Tovoli was no longer in charge of film photography, a pupil of the latter, Romano Albani, was commissioned to reproduce the atmosphere of unreality through the combination of colors, achieving similar success. The scenery was also in charge of Giuseppe Bassan, this time turned to Art Deco to play inside the infernal house of the Mother of Darkness. There are also several beautiful outdoor locations (not without a touch sinister and poetic), as the district Coppedé of Rome. Music was one of the few changes in the film, using this time to Keith Emerson, who composed a soundtrack reminiscent of grand enough irretrievably to "Carmina Burana." And at the butcher, "Inferno" is a marvel, even exceeding in some scenes from its predecessor, with even more violent moments and bastards. Sequenza longa highlights the incredible stars by Rose, both Roman and library in the privacy of your home, where the stab alive. At
story, Argento creates a whole mythology of the three mothers in est
to film, through the writings of architect Varelli (reproduced at the beginning of this post). The film's approach is again simple: a girl reading the book where the architect discovers Varelli whole pie of the three witches and also indicates which is the formula to discover the whereabouts of the three houses: the house give off a foul smell in your basement will be the name of the witch woman of the house and the third track is in the sole of the shoes of the reader (do not forget the playful nature of enigmas, already present in "Suspiria" and the series motor). However, following these clues, the girl discovers that lives in the house of one of the witches of evil and of course, scares and write a letter to his brother telling him the movie. However, the Dark Witch finds out and deploy their networks in order to perpetuate its rule loss.
One of the biggest handicaps of this film is the absence of a common thread of the story embodied in a character. In "Suspiria" was Jessica Harper, although the poor did not hear anything, was a symbol of purity and innocence, the opposite of the Mother of Sighs. "Inferno" has none of this thread, having as its protagonist a wimp to be aware of the plot stumbled and lacks charisma and symbolism. More qu
and a puppet in the hands of the witch, looks like a man who went out there and they are given all on the same cheek, without will or decision or blood in the veins, which makes you want to take her shoulder and shake to see if smart. Moreover, the film is a marvel, worthy successor to "Suspiria", playing successfully what made it so special and original. However, this may be the biggest problem the film: "Inferno" is not surprising on a creative level as "Suspiria." It is a great movie very well done, but on a creative level is a step Director: Argento maintenance level but not exceed, and a director who is constantly looking for new challenges, the results of "Inferno" were somewhat disappointing. This explains why it took almost thirty years in the making the third chapter in the saga of the Mothers of Evil
The mother of evil Lacrimarum Mater.
story, Argento creates a whole mythology of the three mothers in est
to film, through the writings of architect Varelli (reproduced at the beginning of this post). The film's approach is again simple: a girl reading the book where the architect discovers Varelli whole pie of the three witches and also indicates which is the formula to discover the whereabouts of the three houses: the house give off a foul smell in your basement will be the name of the witch woman of the house and the third track is in the sole of the shoes of the reader (do not forget the playful nature of enigmas, already present in "Suspiria" and the series motor). However, following these clues, the girl discovers that lives in the house of one of the witches of evil and of course, scares and write a letter to his brother telling him the movie. However, the Dark Witch finds out and deploy their networks in order to perpetuate its rule loss. One of the biggest handicaps of this film is the absence of a common thread of the story embodied in a character. In "Suspiria" was Jessica Harper, although the poor did not hear anything, was a symbol of purity and innocence, the opposite of the Mother of Sighs. "Inferno" has none of this thread, having as its protagonist a wimp to be aware of the plot stumbled and lacks charisma and symbolism. More qu
and a puppet in the hands of the witch, looks like a man who went out there and they are given all on the same cheek, without will or decision or blood in the veins, which makes you want to take her shoulder and shake to see if smart. Moreover, the film is a marvel, worthy successor to "Suspiria", playing successfully what made it so special and original. However, this may be the biggest problem the film: "Inferno" is not surprising on a creative level as "Suspiria." It is a great movie very well done, but on a creative level is a step Director: Argento maintenance level but not exceed, and a director who is constantly looking for new challenges, the results of "Inferno" were somewhat disappointing. This explains why it took almost thirty years in the making the third chapter in the saga of the Mothers of Evil The mother of evil Lacrimarum Mater.
evil mother (La terza mother, 2007, Italy and USA)
Address: Dario Argento
Screenplay: Dario Argento, Jace Anderson, Walter Fasano, Adam Gierasch, Simona Simoneti
Photo: Frederic Fasano
Music: Claudio Simonetti
Cast: Asia Argento, Udo Kier, Daria Nicolodi, Coralina Cataldi Tassoni
"The mother of evil" is the most anticipated horror film by Dario Argento fan. If there is an adjective that is repeated infinitely in any essay on trilogy of the three mothers is "inconclusive" (which for the next edition will have to correct the data.) We all expected this film as rain in May and many (including me) had lost hope to see it (28 years, many years). So ... what reasons led to Argento to make this third part after all this time? Well, I'm afraid they were, to a greater extent, for promotional purposes rather than artistic. In the 90's Dario Argento lost all of the critics and the public and only thanks to the television series "Masters of Horror" (and 
two episodes filmed by the director for that series, "Jennifer" and "Skin") Argento recovered some of the famous lost on the American public. And as to the time the paint bald Argento devised a way of getting back into the business through the front door, ending once and for all the saga of the nose and a bloody time meeting the demand from fans, who are a heavy. In other words, wanting to do this third part, no, and that it posed no challenge to be creative, but promotional level, "the mother of evil" is a blockbuster like few others, more than a movie or a story is a vindication of a genre, the giallo, and a great director, Argento himself. So does this means that the film is an empty publicity stunt? Absolutely! The film is fine and all those who say that Argento does not know how to make horror films, please, you look at "The mother of evil" and then we'll talk. Although
argument at this third installment follows the plot of the first two and concludes the trilogy, at the photo "The mother of evil" has nothing to do with "Suspiria" or "Inferno" as the game's colorful and interiors claustrophobic almost disappear. Moreover, the central axis of the two preceding parts, the houses of the witches, no longer important in this third part, being relegated to a few minutes at the end of the film. The film is rather a compendium of everything that has made great by giallo and Argento film, repeating the key elements of the genre in a fresh and modern (and reinforced by new technologies). Paradoxically, "Sigh" was born to counter the demonic film, "Mother of evil" reproduces the framework of one of its best examples, "The Omen" (The Omen, Richard Donner, 1976), but also has touches of the zombie genre , with the city of Rome full of i
nfectados by witchcraft of the mother of tears. Although, truth be told, the story is secondary, and that what we demand of his great Sequenza Argento are lunges, its impossible murders full of sadism, violence and poetry, and that the film has plenty. In addition, Argento uses the film (just in case is the latest) to give the irreducible fan has not forgotten in times of drought several nods to his films, like the monkey that reminds us of the primate of "Phenomena" or those feet not bare to hear the bad as in "Four Flies on Grey Velvet", or happen to be in the film Asia Argento and Daria Nicolodi are daughter and mother.
In short, for many fans, "the mother of evil" was a disappointing way to end the trilogy because they did not respect the dreamlike and unreal atmosphere of the first two (and have every reason in the world). However, the film picks up a successful genre that was more than forgotten and thanks to Argento can continue to enjoy in this new century (glup. .. that does not happen at all).
two episodes filmed by the director for that series, "Jennifer" and "Skin") Argento recovered some of the famous lost on the American public. And as to the time the paint bald Argento devised a way of getting back into the business through the front door, ending once and for all the saga of the nose and a bloody time meeting the demand from fans, who are a heavy. In other words, wanting to do this third part, no, and that it posed no challenge to be creative, but promotional level, "the mother of evil" is a blockbuster like few others, more than a movie or a story is a vindication of a genre, the giallo, and a great director, Argento himself. So does this means that the film is an empty publicity stunt? Absolutely! The film is fine and all those who say that Argento does not know how to make horror films, please, you look at "The mother of evil" and then we'll talk. Although argument at this third installment follows the plot of the first two and concludes the trilogy, at the photo "The mother of evil" has nothing to do with "Suspiria" or "Inferno" as the game's colorful and interiors claustrophobic almost disappear. Moreover, the central axis of the two preceding parts, the houses of the witches, no longer important in this third part, being relegated to a few minutes at the end of the film. The film is rather a compendium of everything that has made great by giallo and Argento film, repeating the key elements of the genre in a fresh and modern (and reinforced by new technologies). Paradoxically, "Sigh" was born to counter the demonic film, "Mother of evil" reproduces the framework of one of its best examples, "The Omen" (The Omen, Richard Donner, 1976), but also has touches of the zombie genre , with the city of Rome full of i
nfectados by witchcraft of the mother of tears. Although, truth be told, the story is secondary, and that what we demand of his great Sequenza Argento are lunges, its impossible murders full of sadism, violence and poetry, and that the film has plenty. In addition, Argento uses the film (just in case is the latest) to give the irreducible fan has not forgotten in times of drought several nods to his films, like the monkey that reminds us of the primate of "Phenomena" or those feet not bare to hear the bad as in "Four Flies on Grey Velvet", or happen to be in the film Asia Argento and Daria Nicolodi are daughter and mother. In short, for many fans, "the mother of evil" was a disappointing way to end the trilogy because they did not respect the dreamlike and unreal atmosphere of the first two (and have every reason in the world). However, the film picks up a successful genre that was more than forgotten and thanks to Argento can continue to enjoy in this new century (glup. .. that does not happen at all).
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