सस्पीरिया

Need another remake/reboot/reimagining of a classic horror movie that was effective because of the timing of its release... and deserves to keep its legendary status for the rest of time." Then I saw that it was 2.5 hours, and I was like "OMG, what?!" Then I watched it, and I was like "OMG, what?!" I think I'm going to watch it again, because I wasn't paying attention a lot of the time. However, this is one of those remakes/reboots/reimaginings that I respect. Why? Because it takes the CONCEPT of the original, and spins everything about, swirls and twirls it, then flips it up into itself, turning into a completely faithful representation of the term "REIMAGINING". I respect SUSPIRIA 2018. Granted, some of the makeup effects were pretty bad (especially the "old man", which I don't really think was necessary; and the silly makeup for one of the "old ladies" in the final act, which was worse). It is a little long in the tooth. It tries perhaps a little too hard to be artsy-fartsy... But it grabbed me. It pressed its filthy, dirty fingers on my windpipe in parts, and gently squeezed with wrathful intimacy. I felt dirty, yet couldn't help but feel enthralled in parts.

I will say, though, that even if this movie was a complete FAILURE of a horror remake, I will gladly praise the fact that it tried to be its own thing. It wasn't a shameless ripoff. It really, truly IS a reimagining. We just don't get enough of those these days.

A dancing school is not what it presents, swinging back and forth charades with dark pretence, a coven of conspirators, necromancer choreographers, a malevolent and pernicious, dark presence. A young American enrols, and takes the floor, not too long before events suggests theirs more, than a spin, a twist or twirl, as performances unfurl, and disguises make surprises so much more.

A colourful and vibrant tale of what lies beneath the surface, under the covers and behind closed doors in a German school of dancing, although once you start to peel away the flesh, you may find an abstract and occasionally complex undercurrent of themes that reflect how progressive the world, or at least parts of it, have become. Both Dakota Johnson and especially Tilda Swinton deliver top drawer performances.

Disclaimer: Similar to another user review, I have to confess that I am EXACTLY the audience for this movie. I love Tilda Swinton, genre films, dance, anti-fascism, and Gothic horror. So take what I say with a grain of salt, I suppose.

"We need guilt, Doctor, and shame."

The scariest thing in the world (to me) is a person with no sense of shame. It's remarkably easy for some people to decide, 'I'm not responsible, I don't care if I hurt people or if people are hurt in my name, as long as I'm comfortable. As long as I don't see it. As long as I can justify in my head why those people deserved it. As long as I get to sit here, sip my tea, and not think about the bodies.'

Such is the poison that consumes the Helena Markos Dance Academy, where the matrons who run the school prey upon their students. They put on a protective, motherly front to manipulate and destroy the young women who come through their doors. The youth believe the celebrated academy will help perfect their dancing capabilities. This lie masks a secret, nefarious plot - one the coven will gladly kill to protect.

Luca Guadagnino's Suspiria has a lot on its mind - the German Autumn, modern dance, motherhood, witchcraft, psychotherapy - but everything comes back to a struggle with shame, especially as it applies to those with power. The witches at the academy were victims of the Third Reich, and have since devolved into their own form of fascistic groupthink. Fear of discovery drives the coven to commit atrocities. We are shown in grueling, bone-crunching detail the cruelty they are willing to inflict on dissenters, and then we see how shockingly happy and contented they are with what they've done. Evil is banal, and it does not occur to (most of) the matrons that they should feel even the slightest semblance of guilt.

The only other authority figure in the film is Dr. Klemperer (played by the endearing "Lutz Ebersdorf"), a psychologist who survived the Holocaust. While his intentions are more noble than those of the witches, he still fails to take action when it counts and pathetically denies the blood on his hands. The message may not be subtle, but that doesn't make it any less palpable: We are all culpable when we allow unjust regimes to flourish. Shame can help save humanity.

Guadagnino is more concerned with character psychology than Dario Argento was in his 1977 original. Every character actively pursues an agenda, and their individual journeys interlock in interesting ways. It's difficult to say there is only one main protagonist; we closely follow the progress of so many people. Guadagnino also shows way more compassion for his characters than Argento did. The sisterhood that develops between Susie (Dakota Johnson) and Sara (Mia Goth) is genuinely touching. So is the intense, symbiotic bond between Susie and her instructor, Madam Blanc (the incomparable Tilda Swinton). And of course, there's Klemperer on a mission to find and rescue his missing patient, a dancer tormented by the academy (Chloe Grace Moretz). Because there is sincere, deeply felt love for each of these characters, the terror visited upon them is all the more distressing.

Many of the film's stylistic choices can be quite jarring, particularly in the VFX and editing departments. It's also 2.5 hours long and slow paced in sections. It's not for everyone, but then again, neither is the 1977 original. Guadagnino pays tribute to the free, punk rock spirit of Argento in his own unique way. Thom Yorke's music is also very surprising; singing on a horror movie soundtrack is a bold move. Yet nothing here feels out of place. The world of this film follows a well-defined, if unorthodox and challenging, aesthetic logic - in that regard, it matches the success of the original, which critics described as "A movie that makes sense only to the eye."

The new Suspiria makes sense on a deeper level. For all its intellectual obsessions, the movie is first and foremost an emotional experience. We watch, helpless, as characters we care for are neglected, lied to, and murdered by their elders. With age and trauma, the adults have lost touch with their humanity, and now they commit selfish crimes whilst hiding behind a wall.

People who say this movie "doesn't know what it wants to be" couldn't be more wrong.

I cannot put my finger on it completely, but something is off with this movie and I don't like that I cannot give it a 9 since the acting was great. As always, Swinton can carry any movie single-handedly on her shoulders. And her doubling as the Doctor was unexpectedly good. Simply, I think the casting was great.

The writing, storytelling and maybe the editing seems to be decent but perhaps holding the film back a bit. So I'm unfamiliar with the historical backdrop of the film, but that's ok because I think there is enough gloom and doom feeling that I get the mood it's trying to set. But then all the flashbacks or sharp cuts to all these random pictures and scenes gets muddy. I get that maybe it was supposed to bring this elevated artistic thriller element but it failed because it was overused and just too random at times. The pacing was a bit slow as well or maybe it was the long runtime that made it feel like it was ongoing forever.

In all, I think it's a 6, but it could have been an easy 8 with at least better editing and shorter runtime.

Large groups of people seem to either be awed by this film or utterly revile it. I, however, am willing to go against the grain and take the middle ground. This is neither a masterpiece, nor is it a disaster.

It's a highly ambitious remake that attempts to weave political and artistic themes together into one cornucopia of fantasy-horror-historical expression, and unfortunately it only succeeds some of the time. Does this film bite off more than it can chew? One could argue that, but sometimes I'd rather a film try to do too much and partially fail than play it safe and thereby come out less memorable.

What tends to give this film more bite is its ferocious dance sequences. I can only imagine how much work went into that aspect of the filmmaking. There is also a wonderful recreation of the sterile bleakness of late 1970s Berlin back when the city was still divided during the Cold War. As far as performances go, there isn't a false note. Dakota Johnson gives a nuanced turn as an aspiring American dancer who comes to Berlin in 1977 to join a world-renowned dance company, which just might be dominated by a host of witches. Tilda Swinton gives an equally disquieting turn as one of the dance instructors. Chloe Moretz Grace turns out to be under-utilized.

Although some scenes don't feel as artistic as they could have been, this is still an arresting cinematic experience overall. Putting its inconsistency in execution aside as well as a seemingly winding conclusion, I recommend this film for those looking for something ambitious and off-the-wall.