1.0 - THE BLOG'S TITLE:
1.1 - PART II. FURTHER ON DARIO ARGENTO'S THE MOTHERS' TRILOGY OF FILMS: THE EMPTINESS IN THE FILM 'INFERNO, 7 FEBRUARY 1980', 107 MINUTES, DIRECTED BY DARIO ARGENTO.
1.2 - THE BLOG'S CONTENTS:
1.3 - Points 2.0–2.3: DISCLAIMER /1.4 - Points 3.0–3.2: DATES OF RESEARCH, WRITING AND ON-LINE PUBLICATION /1.5 - Points 4.0–4.3: REGARDING DARIO ARGENTO'S CINEMATIC VISION /1.6 - Points 5.0–5.9: MATER TENEBRARUM: THE IMPOSTOR /1.7 - Points 6.0–6.13: THE CHARACTER OF ROSE ELLIOT /1.8 - Points 7.0–7.5: THE INTER-CHANGE OF MODALITIES /1.9 - Points 8.0–8.15: THE APARTMENT BUILDING WAS AN OLD PRISON TOWER /1.10 - Points 9.0–9.8: THE REAL VERSUS THE PSEUDO-REAL /1.11 - Points 10.0–10.5: THE MOMENT OF TRUE REVELATION IS RESISTED AND DENIED "TO BE CONTINUED" /1.12 - Points 11.0–11.5: A FEW COMMENTS ADDED AS BASED ON MY EXPERIENCES OF BEING LABELLED A CHANGELING /1.13 - Points 12.0–12.9: ON THE SUBJECT OF ETHNIC CLEANSING /1.14 - Points 13.0–13.7: THE GREAT OBLIVION OF EVERYTHING /1.15 - Points 14.0–14.3: THE SOUND-TRACK OF INFERNO, 7 FEBRUARY 1980, 107 MINUTES //
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2.0 - DISCLAIMER.
2.1 - Changing, copying or disseminating this blog is strictly prohibited.2.2 - The data within this blog is protected, per the Copyright Act circa 1988 of Australia, being only for the use of its researcher and writer, viz. Craig Steven Joseph Lacey, 4 December 1976–, Australia.2.3 - Per the Cybercrime Act 2001 (Act Number 161) of Australia, fines and/or prosecution will apply per Australian and International law in reference to unauthorised access of this blog on Google.com and other storage devices with the data.
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3.0 - DATES OF RESEARCH, WRITING AND ON-LINE PUBLICATION.
3.1 - This blog was started 06.04.2024 and completed 07.04.2024, as researched and composed by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000.3.2 - Last up-dated: 10.04.2024, 11:28, Australian Eastern Standard Time.
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4.0 - REGARDING DARIO ARGENTO'S CINEMATIC VISION.
4.1 - The sequel to Suspiria, circa 1977, 99 minutes, is titled: Inferno, 7 February 1980, 107 minutes, again directed by Dario Argento; an Italian film being produced by "Produzioni Intersound", and filmed at Rome, Italy, but mostly at Manhattan, New York, the United States Of America.4.2 - Dario Argento has again, written the film script, as he had for Suspiria, circa 1977, to indicate the films are very much his own cinematic vision on the subject of the three mothers: the three Witches, Sorrows, Fates or Harpies, etc., as discussed by Thomas De Quincey in the essay 'Levana And Our Ladies Of Sorrow' from Suspiria De Profundis, circa 1845.4.3 - The references of Dario Argento's Mothers' Trilogy to Thomas De Quincey's Suspiria De Profundis, circa 1845, are made arguably in furtherance of the poetic prose form of Thomas De Quincey's writing and the filmic form of giallo itself that is a peculiar but intriguing mix of exposition integrated with moments of poetic expansion of the narrative.
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5.0 - MATER TENEBRARUM: THE IMPOSTOR.
5.1 - Inferno, 7 February 1980, is based on a narration in association, by a degree, to the second witch, as referred as 'Mater Tenebrarum' in the Latin—translated as "Mother Of Darkness"—that is of the Western Church, viz. Roman Catholicism; though Latin is really the only allusion to Roman Catholicism except for a few scenes of the city Rome, Italy, portrayed later in the film, which conversely refers to witch-craft or alchemy by portraying boiling cauldrons within a library basement.5.2 - Mater Tenebrarum, acted by Romanian Veronica Lazăr, is portrayed as firstly a nurse, and later a land-lady, rather than a leading witch who operates a coven parallel to a dance school, such as Mater Suspiriorum is shown to be.5.3 - Mater Tenebrarum is found to be inextricably linked to the building of which she is the land-lady—to the extent, the building is an inter-changeable reference to her and an analysis of the building is discussed later in this blog.5.4 - Firstly, the film is recognised as dealing with the notion of the inter-change or substitution, such as is already demonstrated in the classic sense regarding her as the nurse, who is also later revealed to be the land-lady, then, Mater Tenebrarum.5.5 - Hers is an identity resistant to the moment of revelation, and I make a non-humourous pun on the word 'revelation' here to The Book Of Revelation, as to also refer to the unveiling of the fiend's identity as a staple of the detective genre.5.6 - Rather Mater Tenebrarum exists always incognito: a disguised relation through which she may perpetually gather intelligence to further administer by stealth the affairs of others.5.7 - That is, Mater Tenebrarum is something of an impostor and spy: her true identity and belonging is not quite exposed by the film's narrative, and inasmuch the signifiers of the nurse, the land-lady, the apartment building, its basement temple, fire itself, New York City and Rome, are subject to the unstable signs of an identity that forever seeks escape through plurality and disguise.5.8 - Even at peace-time, Mater Tenebrarum is at war: recognizance being imperative in attaining a strategic advantage.5.9 - During the film of 1980, there are no such moments of insight in to the mysterious identity of Mater Tenebrarum, but as is the case for the impostor, there is no interiority of personal identity as such, only a series of identifications to the places, objects and people in which the impostor dwells, such as is vividly narrated by the protagonist character Mr. Ripley from Patricia Highsmith's The Talented Mr. Ripley, circa 1955; more recently published circa 2024, Vintage Classics, 272 pages, ISBN 9781529940886—such characters exist as imitators of the genuine.
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6.0 - THE CHARACTER OF ROSE ELLIOT.
6.1 - Instead the film concentrates upon the female protagonist, Rose Elliot, acted by Irene Miracle, who, as a poet, is believed to have interiority of identity—yet that may be a dupe, because Rose Elliot only starts to know of the "Three Mothers" and the sub-culture in which she dwells, mid-way through her life, possibly as a reference to the structure of art per "in media res / in the middle of things", such as represented by Alighieri Dante's Divine Commedia, circa 1382, a trilogy in which the first book is of the same title as this film: Inferno.6.2 - An old book titled: The Three Mothers by E. Varelli, that is featured during the film's introductory sequences, is shown to be opened—at one point, a letter-opener is used to pry open two joint pages—and then read by Rose, amid her assortment of things: a fine silver bracelet; a bejewelled trinket of a snake design that attaches keys; a silver pen; a neck-lace of silver and jewels; fine paper; a Latin-English dictionary.6.3 - Refer to the film still beneath of Rose Elliot using the envelope opener to cut joint pages in E. Varelli's book, with some of the collection of her artefacts on the desk.
6.4 - Rose Elliot is displayed, herself as the investigator, as might an historian be considered: involved with the analysis of clues, either documentary or exhibitory evidence, shows her own exteriorisation, her predilection for the empirical.6.5 - May Rose have lost her Christian identity, presumed Christian because the Rose is traditionally a Christian symbol?—a question that must remain unanswered in Rose's quest to uncover the witch's identity.6.6 - As is the case for most giallo films, the identity of the fiend is firstly suspended for a generally held acceptance of that character as some-one trusted, to some-one whose motives are brought in to focus by suspicion, is revealed as one whose criminality is an effect of psychological disturbance; that is, giallo and thriller-suspense films tend to embrace psychologism paradoxically while showing magic and pseudo-spirituality.6.7 - The standard giallo filmic technique is to integrate in to the overall filmic narrative flash-backs of the antagonist's unusual child-hood: when the seeds of disturbance were sown.6.8 - A psychological understanding is thereby established in the audience so as to curtail or prevent a type of persecution taking place, viz. dæmonization; but in this giallo / horror film, there are no flash-backs to an internal past of Mater Tenebrarum, rather she is revealed as "Death Personified", a type of Grim Reaper, the very cause celebré itself.6.9 - While law enforcement officers, such as detectives, do not show up in this film as they do in the film: Suspiria, circa 2018, 152 minutes, directed by Luca Guadagnino, Rose tentatively acts as a type of private investigator, but she is indicated as dependent on a father-figure: a character known as E. Varelli, the author of the pseudo-text: The Three Mothers—it is his speech as voice-over that narrates her reading of the text, rather than her own voice be heard.6.10 - E. Varelli may be as much Kazanian, the miserly, antique dealer next-door to the apartment building, as the aged Professor Arnold who is himself revealed as E. Varelli, such that he is also as an evasive figure as Mater Tenebrarum—but to set aside gender for a moment: "might they both be different sexes of the same identity?"6.11 - E. Varelli is, what is often referred in psychoanalysis: "the anal father", who exists as a shadowy figure, the necromancer, "Silenus", a satyr of sorts; a consideration only mentioned here en passant, because it is too horrid to consider, but is nonetheless interpreted in relation to the three mothers by way of inference.6.12 - Whomever E. Varelli really is, he provides Rose the possibility of augmenting her knowledge by "unlocking doors" through the use of keys, viz. keys of knowledge to ascertain the truth of the world in which she lives.6.13 - There are, according to E. Varelli, three keys: the second key, the relevant to the unfolding moment of the film exists in reference to revealing Mater Tenebrarum's true name as an image presumably in relation to her face, as evidence in the cellar of the building—the cellar being at the roots of identity, the analogy further refers to wine and spirits, undoubtedly rum, though, this once again, would be read-in to the film's narrative.
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7.0 - THE INTER-CHANGE OF MODALITIES.
7.1 - It ought to be mentioned, to disspell any incredulity caused by the coincidences of the narrative's start, that the vintage book has been bought from an antique store, viz. 'Kazanian Antiques', shown next-door to the apartment complex in which Rose resides, to confer a regional truth of setting and historical positioning to the film's narrative to lend it credibility.7.2 - During the film's initial scenes, the apartment building of Rose's residence is shown in reference to a sketch within E. Varelli's book to also be the home of Mater Tenebrarum as to indicate a series of points of almost magical synchronicity.7.3 - There is a movement of the camera from the rough sketch of the apartment building in E. Varelli's text, to a detailed etching of the building in a frame hung on the wall of Rose's apartment—refer to a film still of the sketch in E. Varelli's book, beneath.
7.4 - It is a camera movement ending with a cut to a shot that shows Rose standing, comparatively very small, in front of the towering apartment building—Refer to the film still from Inferno, 7 February 1980, beneath, that is of the camera shot discussed above at point 7.3, that shows the apartment complex's complete façade at night.
7.5 - Rose's inquiries in to the world of the text, The Three Mothers, is relevant to her home: she must comprehend how her position in her place, neighbourhood and society is dominated by such iniquities without her being aware.
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8.0 - THE APARTMENT BUILDING WAS AN OLD PRISON TOWER.
8.1 - One of the first impressions of the apartment building is that of its Victorian styled, prison-type architecture.8.2 - The entrance / gate and core of the building is that of a 'tower' such as of a gatehouse—the name of the traditional "observation centre" of captives who were observed for assessment regarding whether they be executed, sent to a prison proper, or released in to society.8.3 - There are the mediæval, European-styled tower crenellations to be seen at the top of the central tower and its Northern and Southern flanked sets of apartments, which in a statement of power as of prison architecture, is perfectly symmetrical.8.4 - Beneath, I have provided a photograph of the etching of the now demolished old gate-way of the notorious Newgate Prison, London, Britain.
8.5 - The similarities are obvious with the gated front entry, the column structures on both sides which rise up to a crenellated top, and further, centre of the building are the trifora windows beneath the unifying arch; that is of a similar triple-based structuration in the apartment building's tower's windows which face Manhattan, West Side, Central Park.8.6 - There really is only one conclusion to make: the building from the film is a modified structure from prison architecture, that has been used in similar ways to how prison towers were used: to observe and assess its captives, except in this case, residents are assessed, not captives.8.7 - Later in the film, the third key, which E. Varelli has discussed in terms of a riddle: "it may be found under the soles of one's shoes;" is revealed to refer to the secret, crawl spaces beneath the building's floor boards which are located at each apartment floor, and further, connects to a secret passage way that leads to the apartment of the land-lady, Mater Tenebrarum.8.8 - Refer to the film still beneath of Mark Elliott, Rose's brother, acted by Leigh McCloskey, discovering the hidden crawl spaces connected to the building's secret passages.
8.9 - Refer to the film still beneath of Mark investigating, in a substitution of Rose's investigative role, the hidden crawl spaces of under the apartment building's floor-boards.
8.10 - Further, refer to the film still beneath of Mark walking from the crawl space, shut closed, in to the passage way leading to Professor Arnold's apartment.
8.11 - Mater Tenebrarum, as has been already mentioned, showed herself a nurse, that is, with a stately old man in a wheel-chair, the apartment tenet, Professor Arnold, and he is shown during the film's climatic scenes in his lavish apartment rooms, to be the alchemist and author E. Varelli, but also significantly the architect who supposedly was embroiled in to the Mothers' affairs—being commissioned to design and construct their residences.8.12 - To that extent it is plausible the building in E. Varelli's text is that construction, similar to the prison "panopticon", illegally used to observe and assess tenets for the hidden purposes of the building's supposed owner, Mater Tenebrarum.8.13 - In further reference to Dario Argento's Inferno, 7 February 1980, the woman, the real-life model of the character, who may or may not claim to be Mother Tenebrarum appears associated to the cultures of Western World prisons, or E. Varelli is.8.14 - The indication is, in that apartment building, modified from a prison tower, that abdominable couple—Mother Tenebrarum and E. Varelli—preside over a darkness that is really known to exist inside such penitential institutions, as prisons or mental asylums, but really as only a symbolic, mysterious absence of knowledge per se; that can only be considered a matter of control and censorship.8.15 - Otherwise the question is asked: "exactly how many are killed in prison with their deaths going unrecorded?"
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9.0 - THE REAL VERSUS THE PSEUDO-REAL.
9.1 - Here the notion of the simulacrum of a real thing, viz. a set of a film that imitates a real building, is tested.9.2 - The apartment building shown in Inferno, 7 February 1980, is not a set-piece, nor is it a computer animation integrated in to the real footage of the film: but the building is real / true—and to add a note of my own experience, was used by the sorts of folk who labelled and persecuted myself for being a changeling.9.3 - Similarly, the book of the film, a "pseudobiblium", is shown as a real book, but it is no real book, to further test the internal logic of the film's versimilitude as a piece of fiction as pseudo-history as compared to official, true history.9.4 - I am reminded of the apartment building in the film: Rosemary's Baby, 12 June 1968, 137 minutes, by Roman Polanski, that involves an apartment building also facing Manhattan's Central Park, where Satanic practices occur, and Roman Polanski's film also includes a narrative with reference to a pseudobiblium, this one titled: All Of Them Witches by J.R. Hanslet, where reality and fantasy are shown to be categories destabilized by degrees of representative representation as determined by modality.9.5 - When the prefix 'pseudo-' is used, it denotes that the noun and thing connected to the prefix is false, but it is not simply a matter of falseness to refer to the totally fictitious because the pseudo-document or pseudo-exhibit is in its versimilitude found to be accurately representative; that is, in the thing's likeness of the real and true thing upon which it is modelled, it is representative of the truth of the thing's appearance.9.6 - This is a similar notion to the aforementioned impostor, "the fake person", regarding who, there is only a presentation of versimilitude that can be assessed under conditions as to its fake or bonà fide status by revealing a lack of quality, or certain vërve, or paradoxical: "je né sais quoi"; a little something, such as genius and originality.9.7 - The medium of film itself is simulacrum and the genres of giallo and horror are ladden with such standard conventions that the performativity reaches an almost camp aesthetic, in which the horror of the truth is ossified in to an on-going series of such moments of truth that attain the sort of mundaneness of everyday life, bizarrely perceived as non-threatening.9.8 - How truths of official history can be found in such cultural texts, giallo and horror films, with a self-reflexive artificiality of performance and conceits of narrative constructs, is a problem of interpretative methodology as to evince truth from fiction.
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10.0 - THE MOMENT OF TRUE REVELATION IS RESISTED AND DENIED "TO BE CONTINUED".
10.1 - There is the moment of the supposed revelation in the film when Mater Tenebrarum shows herself, no longer as the nurse of the elderly man, but a woman of middle-age and wealthy presentation, the land-lady, who even in her basement temple is partially hidden by her hair.10.2 - When Mater Tenebrarum is supposed to be revealed, she is seen to walk-out of a large mirror: inasmuch that Mater Tenebrarum is an imitation of that real self, being only ever a reflection / impersonation of another woman (or man)—for in that moment Mark appears to gaze in to the mirror he sees a woman, Mater Tenebrarum.
10.3 - Here Mater Tenebrarum reveals her true identity to Rose's brother, Mark Elliott, who has discovered the secrets of the apartment building; he had opened the locked spaces with the keys to the problems or riddles posed by E. Varelli, that Rose was attempting to solve, until she was made to disappear, at which point her "male twin", Mark, Rose's character's brother, who appears to complete the more action-based sequences of the film.10.4 - Consistent to Dario Argento's films is the inter-play of a scrutiny of perception shared with audience, such as that of the giallo genre's use of the overall detective-based investigation, but with the distinction of being revealed as much as ellided, viz. when the moment of unveiling the truth is performed, typically during the narrative's climatic scenes, a proper revelation is denied, and I now ask: "for what reason?"10.5 - Mater Tenebrarum says she is one of the three mothers, but that explains or reveals only that she is one of the feminine forms of death and sorrow.
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11.0 - A FEW COMMENTS ADDED AS BASED ON MY EXPERIENCES OF BEING LABELLED A CHANGELING.
11.1 - As I have mentioned in my previous blog, in a very brief foreword, that I was labelled a changeling during my child-hood years, I was a changeling to the extent I was persecuted for it as part of a culture in Australia and the United States of America, which believes a changeling deserves persecution, and it is a position both real and unreal; true and false—or of a pseudo-history, because official histories in such nations are shown to ignores its ever happening.11.2 - The question emerges as to what extent both discussed films and the other two films of Dario Argento's "The Mothers Trilogy" really represent an all-encompassing conspiracy considered to be organised by a Satanic cult?11.3 - By the phrase "Satanic cult", here I refer to the enclaves of organised pseudo-religion that are pivoted against Christianity—that is, a religious sect, or various types of sects, which not only disregard Christian social orders' regulations and the search for truth and justice, but pervert or corrupt the orders to satisfy varying forms of avarice and lust for power.11.4 - There was the case of the infamous Manson Family of circa 1969, the State of California, but psychologism is found to divert explanation to the asocially individualistic, rather than direct it to the matter of proto-Satanism or Satanism of Asian cultures in the Western World—refer to: Jonestown And The Manson Family: Race, Sexuality, And Collective Madness, circa 1993, by Robert Endleman, New York: Psyche Press, xvii, 211 pages; 22 centimeters, ISBN: 096228856X, 0962288551.11.5 - Whoever they really are, clearly they are many steps ahead: for they flaunt their power in "broad day-light" through the use of modified prison architecture within residential settings; not in some obscure location, but the renowned streets on the borders of Manhattan's Central Park, and further, flaunt such power through the popular medium of film, that is often considered as entertainment for the general Christian-educated audiences of the Western World—Dario Argento's Italian / American films being no exception.
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12.0 - ON THE SUBJECT OF ETHNIC CLEANSING.
12.1 - The connections between the "hocus-pocus" elements of the examined film narratives of my blogs through to fascistic styled governments, such as Nazism, has been a point discussed to a brief extent in my earlier blogs on the changeling—refer to: thoughtsdisjectamembra.blogspot.com, circa May 2023, PART III CRAIG STEVEN JOSEPH LACEY'S COMMENTS ON THE EUPHEMISM, CIRCUS ENTERTAINMENTS, MISCHLING, NAZISM, FOLK-LORE AND CHRISTAPHOBIA, at URL: <https://thoughtsdisjectamembra.blogspot.com/2023/05/part-iii-craig-steven-joseph-laceys.html>.12.2 - Further dilating on this particular point, the untermensch, the half-human or sub-human as the mischling, that is, the Aryan child, with some parts Jewish Semitic or some ethnic other, as the equivalent to the mythified changeling, raises the concern of ethnic cleansing being at the centre of such folk-lorism or pseudo-religion and culture.12.3 - The persecution of the child labelled a changeling may occur without the use of a politically reflexive language inasmuch to avoid the acknowledgement of the perpetrators acting on a fascistic government's ethnic cleansing regime.12.4 - That is to note, the magic and mythology disguise the fascistic governance.12.5 - Satan, the eternal war-lord, for who the world must forever be in his dominion, is also the fürher, the patriarch of the völk, is himself, that shadowy figure at the peripheries of histories, as Mephistopheles was noted to have been in my previous blogs, but in relation to the three mothers, is the Horned God, the counter-part to the three-bodied goddess, referred to as Hecate, Belladonna or Iris.12.6 - The Horned God exists among his harem, who are his daughters, sisters and mothers; his concubines, slaves and witches, who dwell in the hidden spaces of society and life.12.7 - But: "what of the children?"12.8 - The crawl spaces of the apartment building initially is conceived as used by adults crouching beneath the floor boards to spy on the tenets, though such crawl spaces could be used to house small children.12.9 - The comments of point 12.8 are made with the comments made on Mater Tenebrarum: as her being the mother to who children destined to die early life are sent.
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13.0 - THE GREAT OBLIVION OF EVERYTHING.
13.1 - The so-called democratic government is comparable to that apartment building complex in the film: Inferno, 7 February 1980, that is "safely" lived within, only to be subject to a secret governance from the censored areas of the society, and it can be seen at the film's end; the flames which consume the apartment building is part of that censoring process that leads to the darkness of ignorance, continued.13.2 - To the traditional Christian mind-set, death is repugnent, but to other cultures it holds an allure; an irresistible pull; such as in reference to the great oblivion of everything, symbolized by "the inferno", the title of this film.13.3 - It is precisely the threat of the great oblivion of everything that fuels the demand for witnessing emptiness continually and entertaining the notion: one has survived it.13.4 - Arguably, it is shown in the fires that consume the film's apartment building and possibly in Mater Tenebrarum at the film's ending when, as Death Personified, flames engulf that figure that raises its arms up-wards as though in triumph.13.5 - I cannot help but think instead of that peculiarly feminine form of darkness, a veritable swollen abdomen of emptiness: the world's first hydrogen bomb, named "Ivy Mike", as portrayed in the recent film, Oppenheimer, 11 July 2023 (at Le Grand Rex), 180 minutes, in which "Tenebrarum's children"—though not referred to as such in the film—gather round to witness emptiness itself; as if nothingness itself can be entertainment.13.6 - Supposedly the reality is, death is final: there is no after-life and no such thing as the soul and spirit, but the Three Mothers' Trilogy involve narratives of a supposedly eternal triad.13.7 - Perhaps it is better to keep the discourse to such freakish scenes as portrayed by Inferno, 7 February 1980, viz. of the eclipse of the moon in Central Park?—refer to the film still beneath of Central Park.
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14.0 - THE SOUND-TRACK OF INFERNO, 7 FEBRUARY 1980, 107 MINUTES.
14.1 - Dario Argento commissioned key-boardist Keith Emerson, a former member of the progressive rock-band: Emerson, Lake & Palmer, to create a sound-track titled Inferno, 47:26 minutes, that was released as a fifteen-track Long-Play vinyl disc, circa 1980, on Atlantic Records K-50753, and circa 1981 by Cinevox, then as a compact disc, circa 2000, with a bonus track of out-takes not included on the original vinyl release.14.2 - Keith Emerson re-orchestrated "Va, pensiero, sull'ali dorate / Go, thought, on wings of gold" from the 'Chorus of the Hebrew Slaves' in the Italian Giuseppe Verdi's opera, of four acts, Nabucco, circa 1841, a restaging of the epoch of the Jews' exile and Babylonian captivity.14.3 - The inference is the Babylonians, or Satanic Chaldeans, in reference to the film of 1980, have resumed a sort of secret tyranny, though how a tyranny can be secret is the mystery itself—with all leads ending up burnt, such Babylonian cultures, known for worship of fire, seem to govern as though it is all "smoke and mirrors".
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