Continuing horror week, we now have a film that, I am happy to say, is the outlier of the pack. Suspiria, Dario Argento’s deranged horror classic, is such a breath of fresh air for the genre that I almost want to stop my Halloween horror marathon now in order to leave off on a high note. Doing for the horror genre what Star Wars did for sci-fi, this visually spectacular film revolutionizes practically everything I thought I knew about horror. At its core, it’s what 2013’s Only God Forgives wanted to be-- A visually superb, thinly scripted drama that succeeds due to its spellbinding cinematography and outright lunacy. Thank God at least one of them accomplished this.
Suspiria is, no doubt about it, a surreal film. In fact, this is just as much a piece of surrealism in art as Salvador Dali’s melting clocks. When one watches a movie like this, they shouldn’t expect anything more than to be visually dazzled but deeply confused. As long as they know what they’re getting into, the film should not disappoint. It’s not horror in the conventional sense, but that’s part of the problem. Horror movies should be like this. In the genre, constant suspense is a lot greater asset than the momentary terror of cheap jump scares. And Suspiria keeps the viewer on the edge of their seat.
Suspiria is about Suzy Bannion (Jessica Harper), a young American ballet student who travels to Germany to attend a dance academy. Sure, this premise sounds like a romantic comedy, but when the blood starts flowing (within the first five minutes, no less), you forget about the somewhat tame premise and become immersed in the world that the film creates. After a series of deranged and imaginative sequences involving maggots and an epic roof-hanging noose-death, Suzy begins to suspect that something is wrong with the school. A little research reveals that the academy was founded by a witch, and that a coven of witches (the teachers) continue her legacy to this day.
It’s a silly premise, but it definitely works, mostly thanks to the elaborate set design and spooky lighting. Every scene is awash in primary colors, making it beautiful viewing. Long, dark hallway corridors and effective cinematography add to the suspense. Really, if it weren’t for the camerawork and lighting, this wouldn’t be a very scary movie, seeing as most of its premise is ludicrous and none of it makes any sense. But this is a movie that aspires to make sense not to the mind, but to the eyes. It’s one of the few films I’ve seen in which visuals can actually carry weight. There aren’t any spectacular special effects, there aren’t any explosions... but the claustrophobic feel of the movie is incredibly powerful.
Another part of the film’s success is due to Jessica Harper, who has an old-Hollywood feel to her that makes her a very likable character. Her facial expressions convey a lot more than the dialogue she speaks, which is a feat that few actors can accomplish. Even when the story is at its silliest, she still manages to hold it together with a look of pure terror that can frighten even the least energetic moviegoer. It’s not TERRIFYING, but it’s still disconcerting in a very deep way. Somehow, the movie comes off as both uncomfortable yet hugely enjoyable viewing. You could watch this deep into the night with the lights off and enjoy it while seeing it, yet as soon as you turn on the lights, you’ll be terrified.
Final Score for Suspiria: 9/10 stars. This is a great movie, one that defined its genre... or should have. It’s unfortunate that movies like Friday the 13th cater to the larger horror fan base, seeing as they are the anus of cinema. The best horror films are like this one-- tight, tense, strongly written, concise, and visually epic. After seeing teenagers get killed in a cabin for the 9,000th time, you might want to turn to something a little less mindless. This is a horror film that engages not only your adrenaline, but also your mind. What a pleasant surprise.
No comments:
Post a Comment