Directed By Luca Guadagnino
Starring – Dakota Johnson, Tilda Swinton, Mia Goth
The Plot – A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director (Swinton), an ambitious young dancer (Johnson), and a grieving psychotherapist (Ebersdorf) . Some will succumb to the nightmare. Others will finally wake up.
Rated R for disturbing content involving ritualistic violence, bloody images and graphic nudity, and for some adult language including sexual references
– Successfully blazes its own trail. The 1977 version of “Suspiria” is one of my all time favorite horror films, so it’s safe to say that my expectations were high with this film. Thankfully, the overall presentation by Luca and company is one that establishes this as more of a re-imagining than the shot-for-shot remake that we’re used to. Because of this, this version is free to explore the strange and beautiful side of horror, free from the confines of an original film that was at the time the bar for artistic expressionalism for the genre. Some familiarity is still there for faithful fans, but Guadagnino proves he was the right man for the job because his version never feels restrained or limited to the game of compare and contrast.
– Emotionally stirring performances from a female dominated cast. Swinton is her usual scene-stealing self, portraying Madame Blanc with enough ferocity without ever feeling desperate or obvious. Swinton however is not who I want to focus on, as the duo of Goth and particularly Johnson are off the charts with their characters. Goth’s Sara gives us a tender supporting protagonist who we can believe in, and it’s in Goth’s haunting glow from her facial registry, as well as the command she has over the screen that makes this a major step forward for this gifted actress. As for Johnson, this is a star-turning role that she has been waiting years for, treading through awful movies left and right for the part that she was born to play. For Dakota, this isn’t just an emotionally riveting performance, it’s also a physically rendering one as well, and this combination builds towards one of the more riveting transformations that I have seen in quite sometime. You won’t believe what Anastasia Steel can accomplish when she breaks free from the chains of degrading nature.
– Entrancing visuals. In a year when “Hereditary” dropped our jaws completely in the final ten minutes of its film, “Suspiria” elevates its game to eleven, making the competition feel like a day at Disney when it comes to what it accomplishes. Being almost 34-years-old, not a lot scares me anymore, but the spectacle in macabre, and this ideal that something un-foreseen can possess your body, constantly gave me the kind of chills that I haven’t been treated to since I was a child. On top of it all, there’s artistic merit in said violence, that works beautifully alongside this form of dancing expression numbers that the rival the lighting buffet of the original movie.
– Meticulous exposition. There’s going to be many complaints that this film is jumbled or disjointed with its story arcs, but with some firm commitment to the developments taking place in front of you, it will all become clear by film’s end. For one, I appreciate a film that doesn’t hammer home every single detail to the audience, spoon-feeding us in ways that insults the intelligence of those it caters to. For two, I loved how these angles in story that originally felt so distant from those it was being told against, slowly started to form a pattern of why they were included in the first place. It all comes full circle in this moment during the climax that actually had me reaching for the tissues in ways I didn’t see coming.
– A student of the game. Aside from the accolades that I already commended him for earlier, Guadagnino’s biggest accomplishment is what he and cinematographer Sayombhu Mukdeeprom are able to master in terms of dated camera work. I mean this as an impressive positive, as the entirety of the movie feels like it belongs in the same era of filmmaking as its 41-year-old original, presented in 35 mm film, and dazzling us in ways that didn’t seem possible with the sheen look of modern technology. The movements faithfully pay homage to said decade of film, radiating with a combination of sharp cuts, slow-pans, and wide frames that only further enhance the ominously unnerving atmosphere that the film cements for itself.
– Thom Yorke’s sinisterly audacious nightmare of a musical score. It’s hard to believe this is the Radiohead front man’s first work as a composer in a film, because everything works about the tones that underline the dread and despair that fills the sets like an airborne toxic. Yorke uses plenty of loud alarming instruments to gain our attention, but what keeps it is his repetitious work behind the keys of a piano that go hand-in-hand with shots that we focus on for so long until we demand to look away. There’s little in the way of value more than a composer who grasps his environment, and Thom’s initial descent into the world of film impressed in ways that give us a glimpse into the mind of a musical madman.
– The sound mixing and editing is also something that I greatly commend, for its psychological spin on the unraveling insanity surrounding us. Some of the characters can communicate telepathically, and this aspect is depicted with a stern echo that reminds us of its use. Aside from this, there are these quick buzzes and whispers that cloud the scenes whole, and are presented with such minimal value that had me wondering if I was going crazy. This bending and manipulation of the voices and sounds further articulate why “Suspiria” is a breed of its own, offering a psychological titilation in wonderment.
– Impressive effects work. There’s far too much to even list here, but I have to mention a surprise for yours truly. Yes, I am applauding the use of C.G blood for once, for the way its shading and release feel synthetic to that of the actual human body. Nothing feels compromising to the scene, or obvious by its inclusion, and what’s best is this aspect is rarely ever used until the final twenty minutes, when all hell breaks loose. There’s also detailed makeup work that really made me wince on more than a few occasions, for hideous character design, as well as abrupt violent impact that visually mimics the crunch from impeccable sound editing.
– Long, very long. Considering the original “Suspiria” was 98 minutes, it’s a bit of an investment for this newest one to clock in at 146 minutes. That’s a long time to ask of any audience, especially one with a story whose pacing is plodding and calculating like this one. For my money, most of the early second act could easily be trimmed and compacted down, keeping the finished product at somewhere around the two hour mark. I don’t mind long films as long as they remain entertaining, and there were a few slow parts during the film when I couldn’t help but check my watch.
– There is a push for poignant social commentary within the film that goes nowhere, and only feels a tad bit on the pretentious side of ambitious reaching. For instance, the mention and setting of the post-Nazi Berlin is something that could add layers to the world unfolding outside of the walls of all of this terror, but the film would rather tell and not show…..several times. I think a couple of scenes to soak up the mentality of the townspeople could’ve done wonders not only in the bloated run time, but also in the pacing of redundant scenes that could use a breather before progression.
My grade: 8/10 or B+