Suspiria is a haunting film, much different than the original. Although it has some pacing issues, there are aspects of the film that outweigh these, which will give fans of the genre and Argento's original a thrilling experience.
“Young American dancer Susie Bannion arrives in 1970s Berlin to audition for the world-renowned Helen Markos Dance Company, stunning the troupe’s famed choreographer, Madame Blanc, with her raw talent. When she vaults to the role of lead dancer, Olga, the previous lead, breaks down and accuses the company’s female directors of being witches. As rehearsals intensify for the final performance of the company’s signature piece, Susie and Madame Blanc grow strangely close, suggesting that Susie’s purpose in the company goes beyond merely dancing. Meanwhile, an inquisitive psychotherapist trying to uncover the company’s dark secrets enlists the help of another dancer, who probes the depths of the studio’s hidden underground chambers, where horrific discoveries await.”
Suspiria, a remake of Dario Argento’s film of the same name which was released in 1977, had a difficult road ahead of it if it wanted to achieve the praise of the original. Argento, one of Italy’s most notable directors, a staple in the world of giallo films, created one of the most colorful, beautiful yet horrifying films of his career. While the remake contains the same basic plot and story structure, there are a lot of new elements also that heavily diverge the story from becoming a shot by shot remake of the original, especially the ending. What both films achieve is indeed a haunting atmosphere that is unnerving and succeeds at building quite a bit of tension throughout the film.
What struck me most about this film was the acting. Dakota Johnson has chosen her next roles after the Fifty Shades trilogy extremely well, giving some eclectic and powerful performances, especially in Suspiria. Chloë Grace Moretz unfortunately doesn’t have a lot of screen time, but her segments are very memorable for the performances she gives in reaction to the extreme situations her character is faced with. Then there’s Tilda Swinton. Her role as Madame Blanc is mysterious, solemn and composed, leading the house as dance instructor, and taking Susie under her wing. But that’s not where her role in the film ends. Not only does she play one of the lead characters, she plays several other secondary characters for no real reason. Initially denying that she played the psychotherapist Dr. Josef Klemperer, with her and the director insisting the role was portrayed by a newcomer named Lutz Ebersdorf, Swinton eventually admitted that it was her in heavy makeup. This really comes as no surprise, as I honestly figured it was Swinton in makeup due to the feminine sounding voice of the elderly man, and Swinton’s proclivity for makeup and losing herself in performances. For me, this was a major distraction, as I kept looking for some kind of connection as to why this was done. It is interesting in the fact that there really are no pivotal male actors in the film whatsoever, but as the viewer is supposed to accept Dr. Klemperer as a man, this shouldn’t have any hidden meaning. Swinton also plays Helena Markos as well; only seen at the very end in heavy makeup again.
If Suspiria succeeds at anything, it’s creating a haunting atmosphere that fills you completely with dread. Although you don’t exactly know what’s going on throughout the film, that tension grows in the pit of your stomach, twisting and turning, accentuated by some very disturbing scenes such as Olga’s dance, what Sara finds in the hidden rooms of the dance studio, and of course, that horrific ending sequence. However, as brutal and chilling as these sequences are, they are few and far between some very dull moments that seem unnecessarily long. Coming in at over two and a half hours, there are so many sequences that could have been shorter to provide better pacing of the film. Long films don’t bother me at all, but I found myself struggling very much to keep my attention focused on the story with so many mundane and seemingly pointless facets of the story. The Dr. Klemperer storyline seems entirely unneeded, focused on way too heavily for providing so little to the overall story, serving to only deepen the mystery of where Patricia went, and send Sara on her path to find her and the mysteries in the dance studio. If 90% of this storyline was cut, I feel the pacing would have been much better, instead of becoming self-serving sequences to the director and Tilda Swinton.
Video
Suspiria is presented in 1080p High Definition Widescreen 1.85:1. The transfer is well done, with no defects or issues noted. Argento’s use of color in the original film is one of its trademarks, but here, director Luca Guadagnino chooses the exact opposite, providing a rather muted display of color and subdued palate. Even when there is some color in the wardrobe of the dancers, it is lit in such a way as not to accentuate it. This provides a very somber tone for the film, cold and lifeless. Guadagnino also utilizes bizarre camera angles and cinematography to illustrate the psychological horror aspect of the film. Usually these are interesting methods that achieve its desired effect, but he goes beyond bizarre at the end sequence that turns a genuinely mesmerizing experience into a messy conclusion.
Audio
The audio is presented in Dolby Atmos. This track is absolutely haunting. It provides chilling atmospheric effects, whether it is the heavy breathing and intense practicing of the dance studio, or the eerily effective piano that plays in some of the more tense moments, this film uses audio to complement everything about it.
Special Features
For such a bold film there is a lack of supplemental material on the disc that might please fans. Here’s the very short list, and short in length, extras you’ll see:
- The Making of Suspiria
- The Secret Language of Dance
- The Transformations of Suspiria
Suspiria isn’t going to be for everyone. It’s a long, drawn out film that definitely has its moments, elevating it to a very haunting film if you can keep your focus. Although it keeps the basic story of the original, it has changed just enough to make it unique in its own way, which should please those familiar with Argento’s work. It’s unlike anything out there right now, and as different as it is, I urge those interested to form their own opinion.