Dario Argento’s Suspiria follows Suzy Bannion (Jessica Harper), a young American ballet student, who travels to Germany to study at a prestigious dance academy. When she arrives via taxi during a terrible thunderstorm, she sees a young woman run from the building. The next morning she discovers that the woman was brutally murdered.
Suzy strikes up a friendship with a fellow student, Sara (Stefania Casini), who fills her in on the weird happenings that have taken place at the school. Suzy begins to witness strange things as well and the pair begin to investigate the possibility that something sinister is afoot.
From the onset, it’s clear that Suspiria isn’t a typical horror film. Argento’s use of light, color, and abrupt editing differentiate it from the schlocky B-movie fare that was synonymous with the genre in the 1970s. The musical score, done by experimental band Goblin, adds a layer of tension as Argento’s use of color (particularly harsh reds) telegraphs ominous happenings. The set designs are geometric marvels that are further enhanced by a creative use of light and shadow.
Where Suspiria falters is at the story level. The plot is extremely simple and the script struggles to keep things interesting. Some may argue that the film’s slow pace allows one to appreciate the visuals but, after about 40 minutes, I was hoping things would pick up a bit. There are some undeniably classic moments but they’re strung together by scenes that can only be described as little more than eye candy.
Horror fans will appreciate the creative kills that serves as forebearers of those found in the slasher films of the 1980s. There’s a bit of blood but nothing approaching the geysers of gore that would appear in those same slasher films. For the time of its release, though, I’m sure the kills were quite shocking.
Suspiria is a movie that every horror fan should see at least once but its best viewed with tempered expectations. It’s a true case of style over substance.
4.0 out of 5.0 stars
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