Suspiria ★★★★THERE is a lot to unpack in the 2018 remake of Suspiria.
Dario Argento’s 1977 film is considered a classic by many and the best example of the ‘giallo’ surrealist horror sub-genre of which the Italian director was at the forefront.
The biggest difference in the versions is the running time with the newer one clocking in at almost an hour longer.
There is more character exposition, extended dance sequences, a longer climax and, most importantly, a sub-plot involving a pyschiatrist which adds further depth to some of the similair themes
And where the 1977 version featured a garish colour pallette, in keeping with how a nightmarish atmosphere was portrayed at the time, the new version uses more subdued winter colours and is more grounded until, of course, its insane climax.
Suspiria is set in a prestigious dance academy in Berlin, run by Madame Blanc and a group of female assistants.
The Markos Dance Academy is located in a grand old building with a myriad of rooms, both obvious and secret. Both have managed to survive the Second World War and the division of the city via the Berlin Wall.
It’s a closeted existence for the staff and offers free lodgings for the talented young women who come from around the world to audition and train under the renowned Blanc.
The film starts with a student, Patricia, visiting the elderly psychiatrist, Dr Klemperer, in a crazed state, screaming about witches at the academy being after her. Patricia leaves and Dr Klemperer eventually goes looking for her.
At the same time a new woman, Susie, arrives for an audition. She is from a religious background in a small town in Ohio but has been infatuated with the Markos Academy and Madame Blanc’s teachings for many years.
Her first audition catches the eye of Madame Blanc who takes her under her wing. Susie excels but at the same time starts to realise there is something wwrong in the way the girls are treated by the staff and their secretive nature.
Everything comes to an amazing head with the Academy’s latest public performance of a German expressionist dance piece called Volk and the uncovering that follows of the mystery surrounding the Academy and the true reasons for its survival and purpose.
Director Luca Guadagnino was responsible for last year’s wonderful gay romance Call Me By Your Name so Suspiria will be a shock to anyone expecting a similair experience.
Suspiria is a full-on horror film but only for specific sequences. For the most part the film is more of a mystery but with mounting suspense and a sense of impending doom throughout.
David Kajganich does a magnificent job on the screenplay which takes exactly the right amount of time to explore its main characters and the setting, introduce the horror elements and eventually throw us into a nightmarish scenario.
At the same time the addition of Dr Klemperer and his back story adds depth to the additional themes exploring the German consciousness and comparisons with the terrorist actrivities of the time and those occurring at the Academy.
Let’s get to the cast. The great Tilda Swinton plays several parts with the main one being Madame Blanc. This is the fifth time she has worked with Guadagnino and her commitment to the part is first-rate as usual.
Dakota Johnson has one of her best roles as Susie and steps up to the mark delivering a performance that beautifully matches the atmosphere of the film and complements Swinton.
Chloe Grace-Moretz and Mia Goth are among the supporting cast, along with the star of the original film, Jessica Harper, who has a cameo.
While the entire film is beautiful to look at, there are some stand-out sequences thanks to the editing by Walter Fasano, a Guadagnino regular, and Thai cinematographer Sayombhu Mukdeeprom (Call Me By Your Name).
Thom Yorke from Radiohead was responsible for the terrificly haunting soundtrack, his first for a feature filmfirst soundtrack
The new Suspiria definitely requires a strong investment of time and concentration, but it delivers hanndsomely.