Suspiria (2018)

Suspiria 2018

To remake Suspiria is a bold move, the original is such a vivid slice of Giallo at its purest form it’s difficult to imagine how one would be able to do the original justice. Luca Guadagnino was named as the director of this remake of the Dario Argento shocker, Guadagnino hot off the back of his much-loved tender romance Call Me by Your Name (2017). You couldn’t help but think that these two names, Suspiria and Guadagnino were hardly a match made in heaven, one renowned for its violence and the other renowned for their deft and classy dramas. Having only recently seen the original (reviewed here by Alex), and loving it for its schlocky otherworldly expressive brand of witchy horror I felt that whilst it is clearly a great piece of horror cinema, it wasn’t perfect and I was interested to see where a retelling by such a different director would take us. From the first trailers it was clear that Suspiria (2018) would be a drastically different beast. Could this be a rare remake that succeeds in justifying itself as a standalone film and not just a clamouring homage? Having seen it now I can safely say that for me it has succeeded and bring so much more to the table than I could have imagined.


Luca Guadagnino has done a lot with Suspiria but has kept the basic framework of the original. We still have a naïve Susie Bannion (Dakota Johnson) arriving in Berlin to join a prestigious dance academy under the tutelage of the brilliantly played Madame Blanc, Tilda Swinton is loving every moment of this film in one of three roles she fills in the film. The setting itself is what sets this film so apart from the original however. The opening scenes of the 1977 original had Berlin appear an utterly alien landscape with the dance academy being the only tangible reality, along with a few choice encounters outside its baroque walls. Gone is most of the expressionistic lack of reality, instead we are firmly rooted in Cold War divided Berlin. Guadagnino even places the film around the real-life turmoil the country was going through with the actions of infamous far-left radicals the RAF (Red Army Faction) and their abduction of a former SS officer come powerful industrialist. This is not to say that the film becomes overtly political, at its heart it is still very much a horror film with a penchant for gore, the director has just taken the story into a very necessary different direction. If Guadagnino had just aped the originals colour palate and story overtly the film would be effectively worthless. However, Guadagnino is much more astute and has created a different beast that slowly and surely seeps into your bones.

The beiges and browns of Berlin 1977 are brought out through the Bauhaus-esque dance studio, all wood and sparse modern dance studios. Colour is rarely seen in vivid tones unless Guadagnino wants you to be shocked by them. He keeps the colour central to the story and yet uses the sense of space and time so much more to root the film with some deeper meaning than just a slasher tale based around some creepy dancers. If the original was prog rock, this is much more post-punk, less Goblin and Yes, more Joy Division or Bauhaus (surprisingly) in tone. More screen time is given to the actual dance within the film as well, whilst the original may have had a little it was much more a background for the story to unfold on top of, in this remake however it has become a central point of the plot. Some scenes put the dance front and centre creating some incredible visuals, with the spastic movements of the contemporary dance being performed echoing a darker underbelly of the institution. Guadagnino is clearly drawing inspiration from the art scene of west Germany in the choreography used, echoing the work of Pina Bausch (See Pina, 2011, Dir. Wim Wenders) who would have been working in West Germany in the time frame of the film.

The pacing of this film is not on a par with the original I do have to admit, the originals 90 minutes rips by and Guadagnino has added a whole lot into the story. I found it much more slow burn than some have given it credit for, and for all its plot I must admit I never found it boring. The scope of the film is much wider than the original and I wonder that the fact this is such a drastic departure from the original is more of an issue for some than it needs to be. The acting in the film is also given much more space with everyone able to justify their character motives through backstory, no longer is Susie the blank slate that she is in the first film… Well she kind of is still but Dakota Johnson does a good job in imbuing her with a sense of willing ignorance and obsession. This however is clearly Tilda Swinton’s film, with her work as Madame Blanc along with two more central characters being almost more of the central focus of the film. She is such a mercurial talent, a fact that Guadagnino is clearly very aware of this due to his utilisation of her talents in three overarching roles throughout his Suspiria.

I found this possibly overlong and maybe pretentious art horror film to be a true highlight of the cinematic year. Whilst it may not always be scary in the conventional sense, there are high levels of creepy throughout and the focus by the director on the film and not just the bravado moments made it pop for me. A worthy and brilliant remake of an already revolutionary film, although I sense I may be in the minority on this one.

-Ed

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Suspiria (2018)

Suspiria (1977)

Suspiria-poster.jpg

Sometimes I feel like I’m running out of things to say about film.  Not because I can’t write anymore, my hands still work decently and my brain hasn’t melted into soup yet. And its not because I’ve run out films to watch either. There’s over 100 years, that’s at least over 36,500 individual days of film history to continually wade into, alongside the constant slew of individual releases which come through every day. No, I think it’s just that films come at you in waves, and their effect can crash down on you to varying degrees.

And so Suspiria (Dir. Dario Argento, 1977) crashed down on me.  And it crashed down with the impact of all of its Technicolor might.


 

The more you experience, the more you know. But one of the facets of the beauty of film, is its ability to deliver such a complicated and multi-layered vision. And while the director is the spearhead of that vision, they also channel all of the other creative outputs of everyone who works with them. And I think what keeps Suspiria close to the surface of film history, is its overwhelming abundance of expression. Of nightmares, of music, of landscapes and myths and much more, each part of its construction like snakes intertwined. If one of film’s major abilities is to create an escape from the conventions of normal reality, to tear apart the prisons of space and time and our fixed perspective, then Suspiria is a film which goes hell for leather towards that point, a searing meteorite of colour and nightmares going across the sky.

It is a film so flippant of normal concerns, of reality based aesthetic choices. It’s  vibrant, gaudy and fantastical use of colour (amplified by that Technicolor process mentioned earlier) is one which is so divorced from our own reality. But that intensifies its’ vision to an absurd degree, its colours become hypnotic and entrancing purely as primal entertainment. But the colours are not just an abstract light show, fireworks for its 94 minutes and nothing more. The colours communicate with you, the surreality of the world, it’s dangers and riches and complements and conflicts. Colour, shifting and unstable, communicates in the silences between moments. Or it emphasises certain moments, fears, emotions. The colours assault your senses, they seem to be pushing you into the films phantasmgoria.

And the other elements, the exaggeration and violent instability of almost every aspect of Suspiria’s world. It’s grandiose and strange spaces, overflowing with artistry. Words and paintings and patterns and colours stream across the film’s canvas from its beginning to its end. And because it is so saturated by it, by decorative stimulation, it leaves no dead space in the experience, no room of blank walls to let your eyes metaphorically switch off. The characters are backdropped against the world. meshed into it. They appear from its walls, it’s walls become doors and its doors become walls. The whole world is a continually shifting labyrinth, without clear understanding of where things are in relation to each other. In fact I’d go so far as to claim that the school itself where most of the film is spent, becomes a threat simply because of its unknown, hidden nature.

But those kind of claims are claims and just that. And a film is not just these kind of abstract, psychic thoughts. Because the killer haunting the world of Suspiria is one of ugly, violent reality. The killings in the film are guttural, blunt happenings. Just like the colour, they spill all over the film, irregular editing and violent screams and violent imagery and discordant sound work all combine to create this horrible, dread inducing experience of the danger of Suspiria. It’s a danger which is fragmented, glimpsed and searched for, frantically tried to understand and when it’s over, to reconstruct and process. Argento’s overwhelming aesthetic vision takes on a hellish, furious extreme at moments like this, and it pulls you into the peak of horror cinema; an experience which you can’t look away from, because that would be even scarier.

I’m sure my experience, and my understanding of the film will change, develop over time, as I become more accquainted with its vision. To spend more time with a film is to bring it closer to your mind, to make it more intelligble and less unknown, which usually means less scary. So I think it’s important to put down my experience of this, because it can become easy when watching films, especially watching films in-depth, to forget that their aim is to build up all their pieces, the story and performances and camerawork and sound and etc etc into a single unified whole. And when you study those disciplines in detail, when you move your magnifying glass over a particular aspect of its construction, you can be in danger of forgetting how the combination of those parts grow something more, the film itself.

One of the myths about film is that it’s a visual medium. And that’s not true. It’s an audio-visual medium (side note: soundtrack on this film is insane), but both of those have their own language, one never fully explained by writing. What can be attested to, is how when those elements speak together, in such a well synchronised way, then it has the power to affect your senses and your mind in such a powerful way. And the elements of Suspiria which affected me might not affect you in the same way. It has elements which people might find off-putting;  out of sync english dubbing, garish and intense colouring. It has a world which might be boring, confusing and uninteresting to some. But I’d like to hope that those people would find other cinematic experiences which could move them as much as Suspiria moved me, with its curious story of the things in the darkness which lurks beyond the edge of our vision.

I’m gonna call it for me; Suspiria is some peak cinema. And it’s given me more to say.

-Alex

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Suspiria (1977)