Once more I have to make note of the fact that when watching a movie you have to transport yourself back to the time when the movie was released. I often use the example of my uncle telling me of the time he was a child and saw the original KING KONG and then had to walk home among the hills of West Virginia, certain that the ape would be around the next corner. And yet today we view the movie as quaint and it frightens no child. With that in mind think of the year 1977 when Dario Argento’s SUSPIRIA was released.
This was a year before DAWN OF THE DEAD was released
unleashing a ton of gore onto screens. It would be a year before Carpenter’s
HALLOWEEN filled us with dread and 2 years before the slasher genre kicked into
full gear with FRIDAY THE 13TH. So the amount of blood spilled in
films was fairly small. Argento’s SUSPIRIA received a major push when released
to the US and soon found its audience among the many horror fans looking for
something new. They found it, and a gratuitous amount of blood, in this film.
The story revolves around Suzy Bannion (Jessica Harper), a
young American who comes to Germany to study dance at the famed Tanz Dance
Academy. She arrives late in the middle of a thunderstorm, pulling up to the
front door in a torrential downpour and watching as a young woman runs from the
building and into the rain. When she is refused entrance, Suzy heads for town
to find a hotel. Along the way she sees the woman running through the woods.
The woman is Pat (Eva Axen) and she flees to the apartment
of a friend in fear for her life. She tells her she discovered something
terrible at the Academy and then goes to dry herself off. While looking out the
window she is attacked by something unseen and shortly after hung from a cord
and thrown through a decorative skylight. Pieces from the skylight also kill
her friend.
The following day Suzy returns to the Academy and is set up
to room in an apartment nearby with one of the other students. After falling
ill during rehearsals she is moved into the room once occupied by Pat. She
makes friends with fellow student Sara (Stefania Casini) who later tells her of
the suspicions Pat had concerning the Academy. On bed rest due to her collapse,
Suzy is slow to recover. And at night after dinner she continues to fall asleep
quickly and easily.
Suzy and Sara begin attempt to put together the clues they
find as to what Pat had discovered. They comb her notes and follow each lead
they can. An infestation of maggots forces the students to bunk in the practice
room where Sara swears she can hear the elderly owner of the Academy wheezing
nearby. The deeper the girls dig the more danger they are in. The truth behind
it all is revealed in the end.
Argento had begun his career directing with three films
often referred to as his animal trilogy. With SUSPIRA he began working on was
later termed his three mothers trilogy, a set of three films that would take 30
years for him to complete (INFERNO came out in 1980 and MOTHER OF TEARS in
2007). The end result of the trilogy is mixed but this, the initial
installment, was lauded by critics and fans both.
The movie is incredibly stylized with a use of color rarely
found in American films but that seem to be associated with Italian movies,
horror films in particular. The use of bright colors by director Mario Bava in
BLOOD AND BLACK LACE comes to mind (also available from ARROW VIDEO). Where
most horror films deal in shades of black and gray Argento’s world takes place
in a land of garish reds, greens and blues, all lit to the extreme and very
visible. Horror in the shadows is something we expect as viewers, in the middle
of a modern day setting with these colors and pop styling on screen it becomes
unsettling in a different way.
The story seems confusing at times but can be followed if
one pays attention. Like nearly every horror film made there are things that
take place to question (such as why doesn’t anyone consider that Suzy is being
drugged when she falls asleep every night after eating?) but those are minor.
We’ve come to expect things like that and turn a blind eye to them so that we
might enjoy the movie as a whole.
The soundtrack to the film, performed and composed by the
progressive rock band Goblin, goes hand in hand with the movie. Argento went on
to use them in other films as well and they went on to do the score for George
Romero’s classic DAWN OF THE DEAD as well. Each note pulses and creates a
tension in a style unlike any used before. A rhythm is established when fright
sequences occur rather than the sudden explosive outburst of sound we’d come to
expect in most horror films. It works incredibly well.
The performances are all exceptional and carry over well on
the parts of actresses speaking Italian and known for films made there. This
was just Harper’s fourth film but you couldn’t tell from the performance she
gives. She’s quite believable in the role of Suzy. Casini does a commendable
job as well offering the perfect balance between gossipy school girl and
frightened woman once she discovers the answers to what is going on. Only Joan
Bennet who began her career in the 30s and 40s before being rediscovered when
she went to work on the TV gothic soap DARK SHADOWS seems lacking when it comes
to acting skills here.
The end result is an amazing movie given new life by Synapse
Films. For the first time the film is being made available in blu-ray format
with an exclusive 4k restoration from the original uncut and uncensored
negative 35mm Italian film negative. In addition to that the extras are
formidable. They include 2 audio commentary tracks with authors and Argento
scholars Derek Botelho, David Del Valle and Troy Howarth, DO YOU KNOW ANYTHING
ABOUT WITCHES? a 30 minute SUSPIRIA visual essay written/edited/narrated by
Michael Mackenzie, SUZY IN GERMANY a featurette on the German locations used in
the film, A SIGH FROM THE DEPTHS: 40 YEARS OF SUSPIRIA an all new anniversary
retrospective on the making of the film and its influence on cinema, OLGA’S
STORY an interview with Barbara Magnolfi, the original theatrical trailers, TV
spots and radio spots, an opening credit sequence from the U.S. release,
alternate all-English opening and closing credit sequences and reversible cover
art from artists Joel Robinson.
Fans of Argento will make this a definite must have to
complete their collection. Horror fans as well since the film has been hailed
as one of the best horror movies ever made. The VILLAGE VOICE ranked it #100
among their top 100 greatest films of the 20th century. EMPIRE
magazine ranked it #312 on their top 500 movies ever made list. And
ENTERTAINMENT WEEKLY ranked it #18 among their list of top 25 horror scariest
films ever. Maybe I was wrong. Maybe it’s not a film that just Argento fans
need to add to their collection. Maybe it’s a film that ALL movie fans need to
add to their collection.
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