Suspiria: In den Krallen des Bösen

On a cold and rainy night, American student Suzy Bannion travels to a prestigious dance school in picturesque Freiburg to study the art and history of ballet. Upon arriving, she sees a girl flee the school in a fit of terror. Later in the night, that same girl is viciously murdered. Afterwards, a series of bizarre and sinister events lead Bannion to believe that an ancient evil controls the school and is killing off its' students. Will Bannion be able to solve the grisly mystery before the next victim meets their fate?

Directed by Dario Argento, 'Suspiria' is a visually arresting, thickly atmospheric horror film that is wildly entertaining and very memorable. With a screenplay from Argento and Daria Nicolodi, the film is a psychedelic trip into an occult world of fear, blood and horror. This is not to say it's particularly well-written, as the dialogue is consistently stilted and expository, the story itself is quite meandering and there is little characterization of anyone- even Bannion herself. It wouldn't be unfair to say that it isn't exactly unpredictable, either, especially in its' latter half. However, one doesn't mind all that much, as the film is more about the visceral experience and atmosphere you feel when watching it, rather than cohesion or depth in terms of the narrative.

Inspiration for the somewhat vague, diffuse story- as well as the fantastic, absurd visuals therein- is credited to Thomas De Quincey's 'Suspiria de Profundis,' his continuing essays on the hallucinations he experienced while under the influence of opium. The images in 'Suspiria' are extraordinary and kaleidoscopic in terms of color. Giuseppe Bassan's production design is lush and rich, the decoration of the ballet academy being particularly striking and unforgettable. The whole movie resembles a Technicolor, art-deco nightmare set in a Grimm's fairy-tale- or perhaps one of De Quincey's opium trips.

Under Argento's direction, cinematographer Luciano Tovoli's artful camerawork heightens the feeling of hallucinogenic unreality running throughout the film. His framing of images is beautiful, even when the images in question are the darkest, vilest imaginable. Franco Fraticelli's editing is lyrical and frantic, adding to the film's rapid, uneasy pace. The sound design, as in most good horrors, is well-balanced and frightening, heightening the already tense mood established by the disquieting images on screen as well as the incredible musical score.

Argento and the band Goblin composed the soundtrack, and it really is terrifying. Not since Lalo Schifrin's unused score for 'The Exorcist'- rejected because it was "too scary," if rumors are to be believed- has there been such horrifically creepy, over-the-top and atmospheric music written for a film. It is so unsettling that even peaceful moments when nothing happens- two girls swimming tranquilly in a pool, for example- are terrifically uneasy and scary. It is magnificent, evocative work that must be heard to be believed.

Less magnificent are the performances and the horrendous post-dubbing of the majority of the cast. Jessica Harper stars as Bannion and doesn't deliver a totally wooden performance- but it is close to it. She doesn't have much screen presence here, which is odd considering her great work in earlier films like 'Inserts' and 'Phantom of the Paradise.' There are a few bright spots in the supporting cast- Joan Bennett, Stefania Casini and Alida Valli are all terrific- but most of the performances in the film are either stilted or over-the-top. However, even the good ones are hindered by the aforementioned post-production fiddling with sound and voice.

The bizarre infatuation with post-dubbing and post-syncing of voices has marred the impact of many Italian films from the 70's and does so once again here. There are certainly practical reasons why it was done: they could film quicker while not having to worry about recording live sound and could utilise an international cast of actors without spending months teaching them all English. However, when the result is as off-putting and slip shod as it is in 'Suspiria' it's simply irritating and takes you out of the film, while also lessening the power of the cast's performances.

Taking all that into account, 'Suspiria' is a very unique horror made with an artistic sensibility- though it is far from perfect. Terrible post-production work hampers the film's impact, as well as the majority of the performances from the cast. It is visually stunning though, and there have been few musical scores as terrifying and atmospheric. While it's not Dario Argento's magnum opus, it is entertaining, and- to borrow and paraphrase a line from Longfellow- when 'Suspiria' is good, it is very, very good- but when it is bad it is horrid.

Rating: 7

The movie employs flamboyant use of color. I would call it an Italian Shining had it released after The Shining (1980).

The Good - Use of color! The movie has excessive use of dramatics. The soundtrack, colored lighting and the use of gore is prominent throughout. The cinematography, use of imbibition colors makes this movie *eye-catching*

The Bad - Color is the only praise worthy aspect of this movie. Although the movie lays emphasis on gore and is intriguing till the end, the plot is fairly laid out and the acting falls weak. I would simply call this film an art movie which experiments with Horror.

Still, Suspiria has a legacy which topples the movies of the current era. It is definitely in my list of must-watch movies!

A German ballet school for girls is the setting for mysterious deaths, in this 1977 horror story, written and directed by Dario Argento. "Suspiria" is a visually stunning film.

The images contain objects we recognize, like people, buildings, and interior decor. But the objects seem vaguely menacing, and less real than surreal, as though they symbolize ideas, repressed desires, or subconscious fears. The vivid, rich colors, strange camera angles, deep shadows, and bright light piercing through darkness, all contribute to the impression that the viewer is trapped in someone else's nightmare.

One haunting segment of the film takes place in a huge, and strangely empty, public square, at night. A blind man and his German shepherd dog stand in the middle of the square, surrounded by imposing buildings of neo-classical architectural style. Some professional reviewers of this film have suggested that the public square is a veiled reference to Hitler and Nazism. Indeed, one could argue that the film's subtext is an indictment of fascism.

"Suspiria" is not for everyone. It is unsettling, and at times grisly. The plot is weak, and plot elements are not really explained. The acting is largely irrelevant. And while the background music is suitably gothic, it is also frantic and monotonous.

The best approach to this "art-house" film is to ignore the superficial plot, and focus instead on the fabulous cinematography, and the gothic images as conceptual metaphors.

American ballet student Jessica Harper (as Suzy Banyon) goes to study at a European dance academy, where grizzly murders and hungry maggots reign supreme. "The Tanz Academy" is fronted by elegant Joan Bennett (as Madame Blanc), with stern Alida Valli (Miss Tanner) well-suited, as head teacher. Chief among the young leotard set is Ms. Harper's relatively long-lived pal, lovely Stefania Casini (as Sara). As hair-raising events continue, Harper begins to suspect a coven of witches may have infested the dance Academy.

The storytelling part of "Suspiria" is relatively weak, with events unintentionally serving to lesson the dramatic impact of the horror. The superb opening scenes, for example, are never really improved upon. Interesting characters are underdeveloped, and should have been more cleverly woven into the plot. Despite its haphazard script, and some obvious budget restraints, director Dario Argento's "Suspiria" remains an excellent film.

Mr. Argento's innovative, imaginative direction is the film's greatest strength. His cutting edge camera sense is often striking; and, the color photography, with Luciano Tovoli, is illuminating. The sharp soundtrack music, by the appropriately named "Goblin" band, is reminiscent of Mike Oldfield's "Tubular Bells". Ms. Bennett and Ms. Valli are a treat. The usually underutilized Bennett is especially noteworthy, in her only post-"Dark Shadows" feature film appearance.

Bennett accepted the project on the strength of the director's reputation, and a chance to visit Rome. When "Suspiria" appeared in the USA, she received some unwarranted poor notices, and professed dissatisfaction with the film's violent content. Still, Bennett was "Saturn Award"-nominated as 1978's "Best Supporting Actress" for her work. Bennett duplicitously gives the "Madame Blanc" character just the right amount of respectability, or "class"; she keeps her Academy dancers enrolled, and helps hold the slim story together.

******* Suspiria (1977) Dario Argento ~ Jessica Harper, Joan Bennett, Alida Valli

What sets Dario Argento apart from many of his contemporaries is his success with visual imagery. In a style where sudden visual shocks are used to thrill the audience, Argento creates elaborate deaths which cannot be quickly forgotten. The highly involved double-murder towards the beginning of the film still remains one of the most memorable scenes in horror history, standing next to the Psycho "shower scene" in pure sensory input. And in a technique so powefully employed here and here alone, Argento sets scene after scene aglow with color, using it to express the mood in ways only the subconscious can fully appreciate. All around, this is an excellent addition to the genre of horror cinema, one of the most expressive films to ever plunge a knife into the psyche of its viewers.