ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

http://www.bloody-disgusting.com/news/9063

Cisto da ovlazite jos malo.

...a evo kako se ćera Asia priprema za skoru premijeru T.M.

   
Dve mlade popularne glumice Rosario Douson i Asia Arđento sjajno su se zabavile na partiju koji je napravljen posle ,,Dizel" revije u Italiji. Devojke su popila dosta pića i zaplesale zajedno, štipkajući se i ljubeći se, kao jako bliske prijateljice na radost mnogobrojnih paparaca.

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Shot at 2007-06-29[/img]

http://www.hollywoodtuna.com/?p=3199

Još priprema... Čak se i Roth osladio...




Na kraju napornog dana, Asia se opustila uz cigaretu...

Kurvetina.

neko bi reko: 'eurotrash fufa!', a neko drugi, recimo hak fin, 'it's the way they're raised!'

uostalom, imati arđenta za oca, a dariju n. za mamu neminovno mora da dovede do nekih... po(s)ledica!

Divna žena. Ona ne može da učini ništa pogrešno.

Hm, mene mnogo vise zabrinjava Roth sa appeareancom.

Došao sam u posed 3 klipa iz filma - u ukupnom trajanju od 15 minuta. Kvalitet snimka nije najbolji - snimano je kamerom iz ruke na nekoj konvenciji - ali beggars cannot be choosers...

Na osnovu inserata (i to još problematičnog kvaliteta) nije lako izvući validan sud... U svakom slučaju, ono što je sigurno jeste da će smrti biti brutalna. Video sam 4-5 prizora pogibelji: krvavo je i efektno, mada prebrzo za moj ukus...

Ovaj kunac samo palamudi umesto da linkuje:

http://www.darkdreams.org/dd_forum/showthread.php?t=9679&page=107

Evo jednog linka:

http://video.google.it/videoplay?docid=2715202263412876306&hl=it

Rezolucija je loša, što jeste jeste, ali se brzo učitava i može se čuti naslovna numera iz filma (by Claudio Simonetti, naravski) + nekoliko scena, spoiler free...

Sve traje minut, i zavređuje pažnju poklonika.

Stvari se polako konkretizuju... Sve je manje vremena ostalo od premijere i izgleda da postoji šansa da ne budemo razočarani:

Evo jednog članka koji u meni izaziva slatko nestrpljenje:

TORONTO FILM FESTIVAL
Argento is man of the witching hour
The Italian horror auteur returns -- at last -- to his 'Three Mothers' trilogy.
By Mark Olsen, Special to The Times
September 4, 2007

When "Mother of Tears: The Third Mother" has its world premiere Thursday as the opening night film of the Midnight Madness section at the Toronto International Film Festival -- the same slot that unleashed "Borat" last year -- it will complete a trilogy of films that stretches back some 30 years for Italian director Dario Argento.

Considered a masterful maker of idiosyncratic, expressionistic horror films, at once gorgeous and grotesque, irrational and utterly perfect, the 66-year-old filmmaker's commercial and critical standing has fallen in recent years. Preceded as it is by two of his best-regarded films, 1977's "Suspiria" and 1980's "Inferno," the concluding chapter of "The Three Mothers" trilogy raises one immediate question: Why now?

"Creation is not on a schedule," said Argento recently by telephone from Rome. "I'm a strange soul. I didn't want to stay in the cage of the trilogy; I wanted to explore other landscapes. After 'Inferno' I thought, 'Not now.' And then three years ago I had an idea, like a trumpet in my ear, and I thought, 'OK, now I want to finish the trilogy.' "

"It's a question I've repeatedly asked him," said Alan Jones via e-mail, as to what drove the filmmaker to finally complete the trilogy. Author of a book on the filmmaker, "Profondo Argento," Jones visited the "Mother of Tears" shoot.

"I got the feeling he was ready to broach the subject matter again because he wanted to restore his tarnished reputation. . . . It might also be because he finally wants to draw a line under it and stop the endless questions about it."

In "Mother of Tears," the discovery of an ancient urn sets in motion a Second Age of Witches, an apocalyptic end times complete with rampaging covens of glamorously decadent witches, waves of suicides and chaos in the streets. Only a young woman who discovers that her own deceased mother was a white witch, and that she has powers of her own, can bring a stop to the mounting pandemonium.

For fans of the director, "Mother of Tears" may come to represent both a career-capping victory lap and a new beginning. Although the film can very much be seen as a return to form for Argento, it also puts new twists on his filmmaking. Rather than the strictly storybook fantasy world of "Suspiria" or "Inferno," the new film is a heady mix of rough-hewn, street-level realism and the boldly stylized set-pieces of Argento's signature works.

There has been a fair amount of online nail-biting among Argento watchers over the outcome of the film, as there are concerns its reception may tarnish the standing of the previous trilogy films.

"I was filled with trepidation," Midnight Madness programmer Colin Geddes said of his feelings before seeing "Mother of Tears." "I invited a friend along as a second opinion, and we kept turning to each other,       'Can you believe what you just saw?' It's really a return to his roots in a lot of respects. It's like watching a glorious Italian horror film from the late '70s and early '80s. There are scenes where the audience is going to totally freak out."      

Perhaps part of what has brought out the best in Argento is the participation of his daughter, Asia Argento, who stars in the film, as well as Asia's mother, Daria Nicolodi. All three have notoriously tempestuous relationships, and neither Asia Argento nor Nicolodi have appeared in one of Dario's films for many years. The return of Nicolodi in particular is significant for completing the trilogy as she was the co-writer of "Suspiria" and one of the lead actresses in "Inferno."

Argento's films have always been family affairs. The director's earliest films were produced by his father, Salvatore, and his brother Claudio is a producer on "Mother of Tears." Claudio's son Nilo is also an assistant director on the film.

Asia Argento emerged as the dark diva of the art house at this year's Cannes Film Festival, where her roles in three films earned her much press and praise from critics, including many who called her "the queen of Cannes." In particular, her appearance in Abel Ferrara's "Go Go Tales" -- in which as part of a stripper routine she tongue kisses a Rottweiler -- is already the stuff of Cannes infamy. "Mother of Tears" returns her to the family fold for the first time since having achieved her own international acclaim.

"We had a bit of a falling out for a few years," Asia Argento said of her father, "and I told him as soon as I knew he was doing it that I wanted to be in the movie. I knew this was the best thing for our relationship. We don't bring any of the stuff that's unresolved on the shoot, so when we're shooting movies we are in complete harmony and don't want to spoil these great moments with stuff that is less important, the mundane stuff, life stuff, which is less important than making a movie that will last forever. What Sunday lunches are for most families is making movies for us."

In "Mother of Tears," Asia Argento's character is beset by witches, dumped in a pool of rotting bodies, has a nude shower scene and is chased by an evil little monkey. It is tough to imagine American directors such as Steven Spielberg or Ron Howard subjecting their own daughters to such torments, and yet Dario Argento shrugs off the suggestion that his relationship with Asia as father-daughter and director-performer is complicated.

"Many people talk about that," he says. " 'How can you kill your daughter?' But, no. She is an actress. This is a film, and she knows very well it is a film. She was born in a family of artists."

Asia Argento, however, allows that filming the "sexual stuff," particularly when younger, did leave an impression. "Swimming through a swamp of corpses is easy compared to having to take my bra off when I was 16."

Far from preparing to retire, Argento seems energized by "Mother of Tears," and he recalled with impish delight the details of shooting the film's finale in catacombs beneath Rome.

"We were shooting something," Lee Wilson, consulting producer and visual effects supervisor on the film, recalled of one particularly graphic moment, "and without going into specifics of what it was, I reacted to it, and he turned to me and said, 'Too much?' He knows when he's going to get a strong reaction, but if that weren't the case, then we wouldn't have been making a Dario Argento film."

QuoteIt is tough to imagine American directors such as Steven Spielberg or Ron Howard subjecting their own daughters to such torments

Pa Ron Hauard za to ima Larsa fon Trira.

A osim toga i Džon Burman je svoju rođenu kćer stavio na milost i nemilost pohotnom Gabrijelu Birnu u Ekskaliburu  

Quote from: "Harvester"A osim toga i Džon Burman je svoju rođenu kćer stavio na milost i nemilost pohotnom Gabrijelu Birnu u Ekskaliburu  

i pohotno-razvratno-morbidno-perverznom dvojcu toni randel-piter etkins u grozomornoj splatter orgiji HELLBOUND: HELLRAISER 2 !!!    

Quote from: "Ghoul"

Quote from: "Harvester"A osim toga i Džon Burman je svoju rođenu kćer stavio na milost i nemilost pohotnom Gabrijelu Birnu u Ekskaliburu  

i pohotno-razvratno-morbidno-perverznom dvojcu toni randel-piter etkins u grozomornoj splatter orgiji HELLBOUND: HELLRAISER 2 !!!    

Nije to ta Boormanka, to je neka druga, nepovezana.

EDIT: Ali Argento je ipak ostao neprevaziđen po pitanju eksploatacije vlastitih kćeri - uostalom, ima ih 2 pa može da kombinuje i bira.

Počele su da pristižu prve reakcije, prvi mini rivjui.

IMDB:

-Saw this tonight amazing film. Scary gory even funny Argento in his prime. Audience sang happy birthday to him.

-was interesting, he clearly has a thing for monkeys. and asia gets nude, Yeah !!!

and its his birthday today, it was a special night, never to be repeated

DARK DREAMS:

Details, I can't give you folks right now it being 3:45am, but, the monkey is worth the show, the look is very natural as opposed to the more gel-like blues, reds, and greens etc. The acting wasn't bad. The dialogue is more informative than any of them from what I remember. The scare factor is there for jumps anyways. I'll have to be more detailed tomorrow. I am beat. I liked it is all I can say right now... Music is very subtle. I was impressed over all.

RUE MORGUE:

-Wow, I loved every minute of this besides the fire alarm. Classic sleezefest and overall great, trashy time at the movies. The gore was awesome and first time I've ever found Argento to be punchy. There's a stinger along the lines of the Exorcist 3 hospital scene.

I've never gone into an Argento flick looking for great dialogue. But felt a lot of the goofy stuff he was totally in on and winking. Think there was a lot more *beep* with the audience than a lot of people were aware of.

I'll say it again, man the gore was awesome!

-i didnt think it was crap. it was exactly like all the other films we all love and cherish on this board (eg story, acting etc). i dont know what you guys are complaing about. i loved it.

next time a guy like dario argento does a world premier with his awesome hot daughter on his birthday and we all sing happy birthday to him...you're not invited."

"My initial thoughts are overall very positive, and I'll keep this spoiler free. As Argento's later work goes, I would say this film is Argento's best since at least The Stendhal Syndrome, and probably since Opera. In The Third Mother, Argento really seems bent on pushing the envelope on gore, and generally accepted good taste...to the joy of legions of gore hounds. The end result is a very fun film; however, this film is a far cry from the other two films in the "Three Mothers Trilogy" and fails to live up to the standard Argento set with his earlier work.

There is a lot to like about The Third Mother. Argento, at a higher level than I have seen from him in the past, really ratchets up the sleeze in this film. There are moments of random nudity and sexuality that feel as if they are yanked straight from the great euro-trash films of the seventies. At times, the film resembles a post-modern riff on Sergio Martino with a dash of Jess Franco. For Argento, this really felt like new territory as, at least in terms of sexuality, I have always felt that he was much more conservative than many of his seventies counterparts. Not so with The Third Mother.

The gore, and brutality behind that gore (especially aimed at women), is glorious. I cannot rave enough about that gore. One scene in particular involving a jaw and some intestines is simply brilliant. I squirmed and a smile covered every inch of my face. One of my favorite kills in any film, ever. For that alone, this film was something special for me, and thankfully, Argento is not finished. He throws gory buckets of blood and guts around throughout the film, much of it of a very taboo nature. No one is off limits in this film. I got the feeling that Argento was ready and willing to do anything, and that was thrilling. It's been awhile since I've felt that in a theater.

The acting in this film, led by Asia Argento, is also fine, especially for an Argento film. I had heard the dialogue in The Third Mother was a bit rough, and the dubbing rougher, but that's simply not true. Both are as good as, if not better than, most Argento films. The story is fairly nonexistent, but again, for a "Three Mothers" film, that's pretty par for the course. No harm, no foul. The dialogue, dubbing, and story (or lack thereof) take absolutely nothing away from this film.

So while my enthusiasm for this film is very high, I do feel the need to point out some things I did not like about the film. Missing from the film was much of the wonder that is so present in Suspiria and Inferno. The Third Mother, like it's predecessors, is a film set in a supernatural world. But I never felt that otherworldliness that is so blanketed over the first two films of this trilogy. No moment where Suzy Banyon is frozen, walking down the hall in Suspiria...no moment where a demon (or Satan himself?) chases a girl from a library. There are of course nods to the supernatural, but it feels forced...disingenuous even.

Also missing is some of the grand camera work that really separates Argento's early work from many of his contemporaries. Nothing like the plaza sequences from Suspiria or Profondo Rosso. No rooftop take like in Tenebre. No slow-mo sequences like in Phenomena. Early in this film, there are some very cool uses of the camera, but overall, like most of Argento's recent work, the cinematography is nothing exceptional. It's unfair that Argento will always be compared to his past work, but the comparison is also impossible, at least for me, to ignore.

But the biggest bummer about The Third Mother is Claudio Simonetti's score. It's downright depressing. It feels so "movie-of-the-week." Like an old Lone Ranger episode even. There were some cool vocal highlights, but even that seemed a bit tired...like standard "devil movie/witch movie we have to have scary chanting" music. Suspiria and Inferno both have scores that tap into your soul, scores that pull you into Argento's world. This score is completely unimpressive, and at times, dopey. And it really bums me out to write that.

Other might complain about the ending, or lack thereof...but it's Dario Argento we're talking about...he's goddamn brilliant, but also doesn't really know how to end a movie. No problem on that...I actually find it charming. And I really hope I don't come across as overly negative. I don't mean to be. The Third Mother, while not a complete return to form for the great director, is certainly a very worthy and welcome addition to Argento's oeuvre. It's his best work in a long, long time...and I am so happy for that.

Here's hoping that Argento continues to push the envelope, continues challenging taboos, and continues to bring his dark dreams to the screen for a long time to come (but with a better score!)."

i tako dalje...

ovi delovi komentara su 100% u skladu sa mojim intimnim osjećajem glede toga što nam je za očekivat:

"The end result is a very fun film; however, this film is a far cry from the other two films in the "Three Mothers Trilogy" and fails to live up to the standard Argento set with his earlier work."

"Also missing is some of the grand camera work that really separates Argento's early work from many of his contemporaries. Nothing like the plaza sequences from Suspiria or Profondo Rosso. No rooftop take like in Tenebre. No slow-mo sequences like in Phenomena. Early in this film, there are some very cool uses of the camera, but overall, like most of Argento's recent work, the cinematography is nothing exceptional. It's unfair that Argento will always be compared to his past work, but the comparison is also impossible, at least for me, to ignore."

"The Third Mother, while not a complete return to form for the great director, is certainly a very worthy and welcome addition to Argento's oeuvre."

znači, OK u poređenju sa recentnim katastrofama, i malkice i NADUVANo od fanova toliko željnih vintage argenta, ali istovremeno – ni blizu ranim radovima zbog kojih ga volimo!

Ja očekujem dobar film. Znači, 3 od 5. Možda, u najboljem slučaju 3+, 4-.

Jasno je da je Argento odustao od rekreiranja atmosfere koja je prisutna u prva dva filma, da je, kako to obično biva u trećim delovima, skliznuo u blago (?) parodisanje originalnih postavki.

Ja cenim kad neko napravi zabavan film (pa još pun golotinje i krvoliptanja) ali sam se ipak nadao da će treći deo doneti nešto od one izvorne magije... Eh, moje želje, moji snovi...

budući da od mene SUSPIRIA ima 4+ a INFERNO 4- (nedavno apgrejdovan od nekadašnjih 3+), mislim da je u toj konstelaciji 3+ apsolutni maximum kome se smem nadati.


zabrinjavajuće tvrdnje za koje se bojim da vrlo verovatno imaju osnova u realnosti i u skladu su sa mojim strahovima:

"there is nothing on offer in Mother of Tears for folks outside of the cult-of-Argento or gore-hounds looking for a few inventive kills.  ... There is something tragic when the supposed return-to-form of one of the great masters comes off like an ill-conceived parody of his own work."

"Any weight or potential gristly horror in the well executed splatter moments is lost in the silliness of the affair.  If this is Peter Jackson or Jake West making a splatter comedy, that is one thing, but this is Dario Argento.  Crushed under the expectations of his own reputation. "

"yes, this is a parody. "


"this finds him sacrificing most of his artistic pretensions, and shifting into balls-out entertainment mode."



evo linkova do nekih rivjua:

http://blogto.com/toronto_film_festival_2007/2007/09/midnight_madness_the_mother_of_tears/

http://www.rue-morgue.com/forums/showthread.php?t=20412

http://moviemartyr.blogspot.com/

http://www.thehorrorblog.com/

http://twitchfilm.net/site/view/tiff-report-the-mother-of-tears-review

http://www.filmcatcher.com/member/152/blogs/97/

Mother of Tears: The Third Mother (2007, directed by Dario Argento)

There is a God. Or a Satan. Right now, I don't care which is responsible.

Dario's third Mother film didn't suck.

You have no idea how much I've been dreading seeing this movie. Dario's recent track record, everything post-Opera really, has been, umm, bad. Really bad. At times unwatchably bad. Even at his best Argento's movies have been more about spectacle than coherence, but stuff like Trauma and his version of Phantom couldn't even provide entertaining spectacles. And for him to try and follow up Suspiria and Inferno (my personal favorite Dario film) now, with his directorial powers fading... the possibilities for a soul-scarring disaster loomed large.

Somehow, he pulled it out. Somehow, Mother of Tears did not suck.

Don't get me wrong here, it's the weakest of the three. But it's as least a worthy sequel to movies about ancient witches who live in crazy buildings with rooms full of barbed wire and flooded ballroom basements.

Asia Argento stars as Sarah, an archeology student interning at... c'mon, do you really need the plot? Does it matter? Dario's plots are vehicles to get you to the next spectacle, and there are some doozies. Mother of Tears is a lot gorier than Suspiria or Inferno, for one thing, and even the non-gory deaths are so over-the-top as to be almost glorious. Name another movie where a mommy picks up her tot and for no reason whatsoever tosses him off a bridge into the river (with said tot's little noggin bouncing off the bridge on the way down). Name another movie where a henchman calmly assembles a spear like it's a sniper rifle, then drives it Evil Dead-style up a psychic's nether regions until it comes out her mouth. Name another movie with a crazy killer monkey wandering ar... oh, wait, Dario did that in Phenomena. OK, well, name another movie where the dark-haired lead actress has to swim through a pool of rotting... oh, wait, Phenomena again. Name another horror movie with an Udo Kier cameo... uh, scratch that. OK, well, name another movie where the director gives his own daughter a shower scene... aw, never mind.

If there's one disappointment about Mother of Tears from a Dario fanboy perspective, it's how little the mythology of the first two films figured into the third. In Suspiria and Inferno, the homes of the mothers are as important (if not moreso) to the films as the witches themselves. Here, Mater Lachrymarum's Roman home, the architect's book of secrets and the whole opium dream-inspired back story barely even appear until the final act. There is a nice nod to Suspiria in Asia's character's history, but that's about it. On the other hand, bringing Claudio Simonetti of Goblin fame back to do the music, and casting Dario Niccolodi as Asia's dead mom, score him big nostalgia points.

But Dario, honestly... if you're going to cast a hot Israeli model as Mater L, and have the end of the film set during a convention of lesbian witches who appear to have read too many Clive Barker books, the least you can do is give them a solid half hour of witchy, lesbian, Barker-ish on-screen mayhem before sending them on their way.

At least think about it for the DVD, OK?


ili:

Hey fellas! Magoo here!

Well the Toronto International Film Fest is among us again and that means you are gonna be flooded with reviews for all the sweet flicks being screened. So lemme start yal off with a quick review for Dario Argento's "The Mother Of Tears"

The final chapter of Argento's "Mothers Trilogy" is by far the best. Susperia was prety cool, a tad over rated though. I'm a casual fan of Argento's I havn't really seen enough of his stuff but from what I have seen his new flick is way better than his old stuff.

The same basic Argento set up of random person being thrown into some sort of mystery and finding their way through it til they meet up at the end with the main baddy and shit goes down. Nothing really new plot wise in this one but as most of Argento's work the plot isnt really what we goto see it for. What the real draw is is the weird visuals, interesting subject matter and GORE GORE GORE, and this one has gore-a-plenty. The opening murder scene is probably one of the most brutal I have ever seen. Throught the whole movie we are treated to some insane scenes of torture and brutality which Argento is so good at doing. It's not senseless gore for the sake of it though, it really does fit the tone of the movie and really hightenes the feeling of the movie. And holy shit, Argento just loves killing kids these days, there are more than one extremely brutual scenes involving very small children. One scene involving a new born baby no less, this one really shocked me as it comes out of nowhere.

And the monkey... that lil fucker... I wanted to kick him in the teeth the whole movie!

FUCKING FIRE ALARMS! It went off for a solid 5 minutes during an important and quite part of the movie. At least the film didn't burn up like at Borat last year.

Udo Kier is awesome... that is all.

Asia Argento although drop dead sexy, is seriously one of the worst actress' out there. Although I think it might have to do with the way Argento directs actors in English. The lines almost feel as if they are delivered phoenetically, just emphases on the wrong word and stuff like that.

Argento was there tonight for the WORLD PREMIER of his new movie, daughter Asia in tow. It was also his birthday and we all sang him the birthday song (never thought I would get a chance to sing that song to a Horror legend!) The crowd seemed to really dig the movie, yelping at the right parts and dead silent when the tension was thick (a few bad apples laughing for now aparent reason at certain moments was prety annoying though). The movie was followed up by a brief but funny Q+A, that Italian can get off on a rant sometimes which can get prety hilarious, him talking about the monkey was hilarious. "I loved that monkey, when he died I cried..."

Anyways I'm gonna keep it brief 'cause I gotta wake up for work in about 3 hours.

It's gonna be a long 10 days filled with tons of sweet flicks, I'll keep you guys posted on all the cool shit that's going down.

~mrmagoojesse~

QuoteThe final chapter of Argento's "Mothers Trilogy" is by far the best. Susperia was prety cool, a tad over rated though.

Ta Susperia možda i jeste precenjena...  

Quote from: "Dr Kunac"

QuoteThe final chapter of Argento's "Mothers Trilogy" is by far the best. Susperia was prety cool, a tad over rated though.

Ta Susperia možda i jeste precenjena...  

u vreme kada sam je ja prvi put ulovio kod naših VIDEO pirata, tamo negde 1990-91, zvala se SUSPRIA (sic)! što je još gore, bila je blago katovana!    

evo, sad pogledah u svojoj evidenciji: SUSPIRIA 1. put gledana 16.06.1990. (subota)

Juče me je na otvaranju izložbe Uroša Đurića presreo Miki iz Kupinova i počeo da diskutuje o filmu. Neumitno, došli smo i do horora, i najbolje od svega, kaže on, "nervira ga što se toliko forsira taj Arđento..."  

Jako je mudo taj Miki od Kupinova. Sad je još on našao da priča o Argentu i pogani ga svojim nepismenim ustima.

No, pročitajte ovo, osvanulo je na BD-u:

QuoteHot off the heels of the world premiere of his third mother film, The Mother of Tears, Dario Argento has kick started the the hype once again. After a double standing ovation the Italian horror maestro revealed to his fans that this might not be the end of our favorite witches as he holds a special place in his heart for this franchise, and can't seem to let it go. He implied that another mother film - fourth mother if you will - is quite a possibility. At a screening the following day, Dario's daughter and star of the film, Asia Argento, joked that maybe we'll see a prequel one day. Could we see the history of the three witches? Let us pray!

Inače, na BD-u, MoT je dobio 4 od 5.

Ja svaki put kad vidim naslov topika pomislim da govori o majci Gorana Terzića...

Naj-najnoviji trailer

http://www.youtube.com/watch?v=1TOjHDEMQqc

Mother of Tears
Patrick Z McGavin in Toronto
12 Sep 2007 15:15

 


Dir/Scr: Dario Argento. Italy. 2007 98mins .
The new work of Italian horror specialist Dario Argento, Mother of Tears forms a trilogy of the two macabre, hyper stylized works that made his international reputation: Suspiria (1977) and Inferno (1980). The time away from the material has certainly not dulled the director's senses or brought about any new reflection. As a piece of narrative, however, the movie is virtually incomprehensible.

Mother of Tears works most effectively as an associative succession of startling imagery, its overtly sexual nature bound to cause equal amounts of discomfort and dread in the suggestible. By casting his daughter Asia Argento in the lead role, as a young art restorer trying to untangle her mysterious family history and comprehend her own unnatural abilities, Dario Argento intensifies the personal, almost autobiographical aspects of the three films. Asia is a rapturous, extraordinary presence who concentrates a work that lacks narrative cohesion.

Opening the Midnight Madness program at Toronto, the movie, also known as The Third Mother, is likely to play to a young and aggressive male crowd by playing both to the esoteric and the grindhouse. The market for hyper violent horror movies founded in forms of sexual menace (Hostel 2, Captivity) has been highly restrictive, even disappointing of late. The movie's best returns are likely to be found in DVD and ancillary markets. The two Argentos are a more commercially potent draw in Europe than America.

Dramatically the anti-naturalistic language yields to sometimes highly uncomfortable comedy; it also sustains the movie's strange sense of dislocation and disorientation. Argento and his cinematographer Frederic Fasano use the architecture and landscapes of Rome to produce some very strange and unsettling imagery.

The discovery of a 19th century urn contained within a coffin at construction site near a Vieterbo cemetery awakens the annihilating, terrifying Mater Lacrimarum, the third Mother (Atias), a terrifying black witch. Her emergence unleashes an apocalyptic rage of social breakdown, mass suicides, mothers killing their children and uncontrollably vicious street violence.

Sarah Mandy (Asia Argento) is an art restorer whose lover, Michael (James), is the curator of the Museum of Ancient Art of Rome. From the moment she witnesses the grisly, ritualistic sacrifice of her colleague, Sarah realizes something is terribly wrong. She is also trying to discern the unexplainable occurring around her, the mysterious voices that protect her and help her unlock her own hidden powers.

As Sarah comes to realize the full extent of her identity and her special connection to the Third Mother, Dario Argento rapidly expands the body count. The violence is twisted, gruesome and confrontational. The result, depending on your appreciation of the material, is either avant-garde or very sloppy.

More problematically, much of the imagery has an unmistakable sexual metaphor, particularly the recurring use of deviously phallic objects to penetrate or violate the almost exclusively female victims. Other than Asia Argento, the other performers are deliberately crude and amateurish, often resulting in a work that feels more ludicrous than inspired. The blunt style, sometimes something of an assault, features all manner of incident and flamboyant characterization, including a passel of contemporary witches who resemble the Spice Girls on crack.

Dario Argento assaults most manner of film language, eschewing exposition or transitions. The visual style is influenced by graphic art (ink black panels that reveal the backstory) and 19th century painting. Argento lets loose with ear-splitting aural effects, a particularly malevolent monkey and The visual style is very flamboyant, the subjective camera movement marking the darkest, surreal impulses.

Production companies/backers
Opera Film(It)
Medusa Film
Myriad Pictures (US)
Film Commission Torino Piemonte (It)

International Sales
Myriad Pictures (US)
(310) 279-4000

Executive producers
Kirk D'Amico
Giulia Marletta

Producers
Dario Argento
Claudio Argento

Screenplay
Dario Argento
Jace Anderson
Adam Gierasch

Production designers
Francesca Bocca
Valentina Ferroni

Editor
Walter Fasano

Cinematography
Frederic Fasano

Music
Claudio Simonetti

Visual effects
Lee Wilson

Cast
Asia Argento
Udo Kier
Coralina Cataldi-Tassoni
Cristian Solimeno
Adam James
Moran Atias
Valeria Cavalli
Philippe Leroy
Daria Nicolodi

Na netu se gomilaju prikazi - iznenađujuće veliki broj je pozitivan. Doduše, jasno je da TREĆA MAJKA više gubi nego što dobija činjenicom da je finalni deo trilogije. Po tonu i izgledu film se toliko razlikuje od prethodna dva da bi bilo bolje da se posmatra kao zasebna zverka.

QuoteFast-paced, creepy and 'comic-book broad' enough to warrant some solid chuckles amidst the carnage, Mother of Tears is the third flick in the unofficial trilogy that began with Suspiria and Inferno -- and again, it's probably Argento's most satisfying experiment in a few decades. Collaborating for the first time with American schlock merchants Jace Anderson and Adam Gierasch (the duo that penned Spiders, Crocodile, Toolbox Murders and Mortuary), Argento mounts this Mother with a confident enthusiasm that makes for an enjoyably icky flick. If the pace happens to flag just a little near Act III, just wait till you get a load of poor Asia as she's forced to wade through a location I can only describe as Satan's toilet. Fans of the old-school Argento splatter-fests will find a handful of truly gruesome sequences here, while those who are on the lookout for a bleak yet tongue-in-cheek tale of the apocalypse will most likely appreciate what's in Tears.

QuoteViolence erupts in the streets: Crazed, possessed maidens run around topless; priests who know a little bit too much about the occult face gruesome ends. "The Mother of Tears" is wild and untamed, a celebratory feat of gonzo artistry. Argento clearly didn't have a lot of money to spend on the picture, but it still has a sort of cheapie-luxe look: The women's clothes, for example, aren't expensive, but they nonetheless give you a pretty clear sense of what a Satan doll's idea of glamour would be.

"The Mother of Tears" is as sick as hell. But at least it's got class.

Odličan rivju Davida Polanda -

SEX i NASILJE: DARIO ARGENTO vs ELI ROTH!

Dario Argento's Mother of Tears is far more gross on the face of it (and the ass of it and the intestines of it and the brain of it, etc) than Eli Roth's Hostel or Hostel 2. Like Hostel 2, there is naked woman on naked woman violence, there is blood everywhere, and there is cruelty aplenty.

So why did I enjoy Mother of Tears so much while I was so deeply offended by H2 Doh?

Walking out of the theater here in Toronto, the wind suddenly got so intense that it seemed as though it was planned by Argento... the second fall of Toronto to match the second fall of Rome. Skirts were a-flyin', though no one took a spear and used it to rip off anyone's blouse. (No one in ArgentoVille ever wears a bra, so no need for detailed spearing.) We did learn in Argento's film, however, that the darkest evil possible on the planet owns a set of implants.    Perhaps it was not intended. Just the day before, in The Orphanage, the actress playing the mother who had not given birth or nursed a child also had enhancements, which seemed almost like story subtext. Maybe it was.

But I digress...

Just as opening credits were rolling, a young woman decided to sit in the row on which I was at the end. I stood, she moved to the center of the row. The body of the film started and in the first scene, a woman is strangled with her own intestines. The young woman was up and out before the last pint of blood gurgled out of the victim's mouth.

That is the kind of film it is. Of course Asia Argento, the director's daughter, is wearing a white silk shirt that shows off the details of her breasts... while she has a shirt on. (A completely gratuitous shower sequence with her comes close to Dressed To Kill quality.) Of course the two pretty girls go all out lesbian before the slicing begins. Of course a variety of throats are deeply slashed. Of course there will be a screaming monkey that leads the parade of murdering supernatural maniacs. Of course there will be parts falling out of body cavities and heads being split by axes over and over again. Of course the only woman who doesn't end up naked or splattered is Dario's ex, Asia's mom, and a Bava girl before pre-Argento, Daria Nicolodi', playing... Asia's mom.

This is a movie where a guy has an eyeball removal tool for no particular reason. This is a movie where the wise old priest has the tools of a murderer, just in case. This is a movie where Udo Kier gets a knowing laugh from the audience as soon as he hits the screen.

It is an absolute B-asterpiece.  

So why isn't it pushing my buttons? Because you can feel the feelings of the man sitting in the director's chair. And while there is a real cruel streak, towards both sexes, as in Eli Roth, you get the distinct feeling that while he is raising the stakes endlessly, Dario Argento is just having a nasty good time. There is something deeply perverse about a man who strips his daughter naked and has the camera linger on her body parts. But unlike Roth, you get the feeling he loves that body that came of his genes. And with Roth, you just get the feeling he, like a frat boy, wants to have sex with the body and then leave it on the side of the road to fend for itself.

It's love – creepy love – versus hate. And that's why I imagine that this film, which some would classify as horror porn, could do better and live longer in the imagination than Hostel 2. Because it's not horror porn. It's sexual. And it's horrible. But it's a gorefest, a splatterfest, a drive-thru autopsy of a movie. But it feels like good clean fun... I guess like Animal House's sexual side felt naughty and amusing and not like a movie full of date rape.

Movies tell you their intent. And as intentionally corroded as this film is, it feels like it intents to take us on a journey of big, broad, passionate, insane, thrilling grotesqueries. And it does. And it is fun. And it is horrible. Never has so much blood being lost by so many been so much fun to watch.

Go figure.

Ama, dobit ću slom živaca. Nikako naći treći dio ni na torrentima ni bilo kako. Od bjesa sam ponovno išla gkedati prvi i drugi dio...  

Za Bab Jagu i druge argentofile - da nas želja mine dok čekamo da se pojavi torrent (o bioskopu ne vredi ni maštati, mada, ide FEST, ko zna...) - nove fotke! Asia A.

I malkice hardkora... Tek da neko ne pomisli da se radi o drami.

Na netu se pojavio La terza madre torrent, ali je, po svemu sudeći, lažnjak. Doduše, izgleda da fajl ipak sadrži nekoliko dužih scena iz filma - sve sasvim pristojnog kvaliteta u pogledu transfera - tako da verovatno vredi skinuti. Ionako je za dž. Kada skinem fajl, obavestiću vas kako stoje stvari - a možda me neko i pretekne.

Inače, glavni argentofil, Alan Jones, se oglasio povodom premijere Treće majke.

Evo šta piše:

Hi Nick, Back from Rome and the 'unofficial' LA TERZA MADRE premiere which took place 10.45 pm on Halloween, October 31, at the Adriano cinema in the Piazza Cavour. It was star Coralina Cataldi-Tassoni who reminded me that we were all at the same place 20 years before for the OPERA premiere. Tempus fugit and all that! The performance was more like a cast and crew screening with everyone in attendance - Dario, Asia, Claudio Argento, Coralina, writers Jace Anderson and Adam Gierasch, Sergio Stivaletti, dialogue coach Lynn Swanson, demon Robert Donati and Claudio Simonetti's sister Simona (credited as co-writer, along with director of photography Frederic Fasano, on the Italian poster with Dario, Jace and Adam for quota purposes).

Just before the film began, Dario and Asia introduced with Asia asking everyone who had seen SUSPIRIA and INFERNO. No shock the whole audience raised hands. She then told a story from the Florence premiere the previous night. She and Dario were eating in a restaurant as the film screened. Suddenly someone tapped on the restaurant window and shouted it was the most disgusting film they'd ever seen. The best review they could have she said. Coralina was then introduced to the audience and all three took their seats as the film started. Incidentally, the interval in the 14-rated Italian version comes during the Udo Kier (exorcist Padre Joannes) episode.

Getting the widest Italian release an Argento film has had in decades - 313 prints - All Souls Day was chosen because it is an important holiday date with most people taking the four day weekend time off from work and going to the cinema. The black and red poster depicting Asia's shocked face was everywhere - on billboards, buses, T-shirts and in a major newspaper campaign. I didn't see any fotobusteri on the streets. They are apparently very rare and I only managed to get one set myself. They feature Asia with a photo of Daria and herself as a baby (one of the best examples of how autobiographical the film is in many personal respects); a portrait of Philippe Leroy (Gugliemo De Witt); Asia in the pit of body parts (so PHENOMENA!) and a sparsely populated climactic witch ritual featuring the Mother of Tears (Moran Attias).

As to the film itself, well, it's not the conclusion to the SUSPIRIA and INFERNO trilogy any of us wanted to see. You know the story by now. The discovery of an ancient urn near a Viterbo cemetery awakens the cruel Mater Lacrimarum whose emergence unleashes apocalyptic social breakdown and mass murder in Rome. Art restorer Sarah Mandy can vanquish the evil nemesis if she listens to the guiding spirit of her mother and unlock her own hidden supernatural powers.

While it's easy to criticise LA TERZA MADRE (occasionally different to the US MOTHER OF TEARS version) for what it isn't rather than what it actually is - a gory, campy supernatural romp - the main problem with the film is simple. The layers of ethereal artifice given by lush cinematography and arch style to the prior two classic films lent their fractured stories a further atmosphere of palpable fever dream unreality. Stripped of that, and saddled with Fasano's dull realism (his DO YOU LIKE HITCHCOCK photography was superior), the film's equally episodic narrative comes off as contrived, crude and kitsch. Why on earth didn't Argento use again the vivid colour palettes that made SUSPIRIA and INFERNO so fabulous to look at? He had the chance in Jace and Adam's jewel-bleeding concept, but axed it as too fairytale instead of embracing its rich atmospheric possibilities.

I don't intend to dwell on the faults of the film here. I'll let others on this site pass judgment on the Toyah reject witches, the lack of scope in the Rome in violent meltdown scenes, the usual dodgy special effects and the final CGI shot that turns everything into a depressing bad joke. But to those who have a problem with the way the third mother is despatched remarkably easily, it's important to point out such a rapid demise also happens in INFERNO. The chain of gore set pieces (phallic torture instruments, cannibalism, baby killing, satanic weird sex) delivers blunt thrills, yet nothing shocks more than the money shot of a demon suddenly appearing by Sarah's bedside.

What I like best about the movie? The autobiographical details woven into the scattershot time-lined story (the real mother/daughter Daria/Asia relationship is poignantly used), the train murder of the Japanese witch and lesbian white witch Valeria Cavalli giving the best performance teaching Sarah how to conjure up her mother's ghost with an enchanted powder puff. Then there's Claudio Simonetti's glorious music. Just as his group Goblin boosted SUSPIRIA, solo his chanting choral anthems give the opening an amazing power of thrilling expectancy and lift the clunky Hammer-type Black Mass ending.

Claudio Argento said it best at the premiere performance. He told me, "For the general public it's a good solid movie, for Dario's fans I'm not so sure". Now it's all eyes on the Italian box-office. How well LA TERZA MADRE does financially will determine exactly what his next project will be.

Ako nije lažnjak onda je screen. Prošli tjedan u Italiji La terza madre počela se prikazivati u kinima, a talijanska TV bila je tako uviđavna da je prikazala Inferno i Suspiriju.

reče mi plissken da je skinuo pravu verziju.
očekujemo rivju za 2 sata!

pošto on voli loše filmove, imam utisak da će mu se ovaj dopasti.

Fuck, zajeb.

To sto sam skinuo je nekoliko povezanih scena koje idu u repeticiju u duzini trajanja celog filma. Kvalitet slike je odlican, tako da verujem da ce se vrlo uskoro pojaviti i ceo film. Ako ne zaboravimo i onih dvadesetak minuta koji su procurili pre par meseci, moze se reci da imamo skoro pola sata Terzine majke.

E da, ma momente se vidi par katastrofalnih CGI efekata i suvise balonasto-gumenasti lesevi koji ne tonu.

....jebiga, moram negde da se izduvam...

I ja skidam Trecu Majku sa torrenta.
Vec sam cuo da je laznjak, ali bih ipak da pogledam nekoliko scena.

Ceo film ce se uskoro pojaviti (bar se nadam).
Ja bih se najradije oslonio na rapidshare horror sajt http://www.horrorflix.ws
Tamo treba ocekivati celu verziju filma zato sto su oni pouzdani.

Nekoliko puta mi se desilo da pokupim laznjake s torrenta kad su u pitanju noviteti koje svi iscekujemo.
Jednostavno, to se desava!

Film se relativno dobro otvorio Italiji debitovavši na četvrtom mestu prošle nedelje, da bi ovog vikenda skliznuo na deveto mesto - sa ukupnom zaradom od 2,762,558 $.

Realno je očekivati da do kraja bioskopske distribucije na matičnom tržištu zaradi oko 4 miliona dolara.

Alan Jones writes:

"Hi Nick, It seems the early optimism over la terza madre has fizzled. Although it started off well, the film has taken less money than il cartaio at the Italian box-office. After two weeks in release it is barely anywhere to be seen and has been pulled from most cinemas. The reviews were universally poor and word-of- mouth not good. I have just come back from the Trieste science + fiction festival where I spent most of my time arguing over the demerits of the movie with practically everyone. I spoke to Dario's office today, they are being philosophical about it and hoping its international release will fare better."

La terza madre na netu, ilegalni torrent download, full version, no subs:

http://www.mininova.org/tor/1058099

Naravno, nemojte skidati film, to je protiv zakona.  

zvuk:10/10
slika:8/10

Hvaaala!!!!!

Quote from: "Bab Jaga"Hvaaala!!!!!

Nema na čemu! Samo nemoj da se previše nadaš, da se ne bi razočarala.

Barem se brzo skida.

Quote from: "Bab Jaga"Barem se brzo skida.

Kao Asia Argento!

Kod Daria vazda vlada nepotizam;cerka i ljubavnica moraju da glume u skoro svakom filmu.

Good for us!  

Quote from: "Alexdelarge"Kod Daria vazda vlada nepotizam;cerka i ljubavnica moraju da glume u skoro svakom filmu.

Sve je dobro dok to nije ista osoba.

Quote from: "DušMan"

Quote from: "Alexdelarge"Kod Daria vazda vlada nepotizam;cerka i ljubavnica moraju da glume u skoro svakom filmu.

Sve je dobro dok to nije ista osoba.

Arđentova bivša je u njegovim filmovima uglavnom završavala mrtva, dok ćerka uvek preživi, ali se zato obavezno razgoliti u nekom trenutku filma, hm...