As Suspiria ended, for the first time in my career, I didn’t have a clue as to what I had just seen. Fortunately, there was a very pleasant young man seated near me who helped shed some light on this confusing piece of work. He referred back to the original, telling me that this movie was very different from the first. Wait! What? Suspiria had been done before? Why?
Typically, I don’t research a movie ’till after I’ve done my review, because I want to go in without any preconceived notions. This time, however, that little practice really backfired on me.
So, to be fair, in this review, I’ll address the mechanics of the film, and then I’ll address the content.
Dakota Johnson really did steal the show. During the course of the movie, we see her change from a demure Mennonite to basically an evil witch. The change is so gradual, that by the end, you’ll wonder how this came to be. Tilda Swinton really rocked her three separate roles, and — not to give away any spoilers — in one of her roles you’ll be absolutely gobsmacked at her performance. Mia Goth, from A Cure For Wellness, showed us, once again, that she’s worthy of high praise.
The setting was artistically done; there’s constant rain or snow, and it’s not until the end of the movie that we see any sunshine. Perfect for this genre. The pacing of Suspiria is hard to define; there are moments of frenetic activity, followed by too many scenes of mind-numbing nothingness.
The English subtitles were (even though necessary) distracting. The thick German accents made it all but impossible to follow, then they threw in the many scenes filmed in cavernous rooms, with echoes distorting the dialog…and you end up with a big audio mess.
I do give kudos to the director, Luca Guadagnino, for pulling some mind-blowing emotions out of the actors — something he did beautifully in Call Me By Your Name.
As for how I feel about the content of Suspiria? Confused covers it nicely. The dance numbers were a pure delight to watch, but the many scenes of outright butchery and slaughter overwhelmed my senses to the point of disgust. It was as if the special effects department went way out their way to show the audience how well they do ‘carnage’. In that case, job well done, special effects people, job well done.
I struggled with what grade to give Suspiria. As has been my practice for the last ten years, I’ll grade according to the target audience. So that begs the question; who is the target audience? My best guess is the people who’ve seen the original. The nice young man I spoke of at the beginning of this diatribe had seen the original, and explained that the movie bore little resemblance to the reboot — but nevertheless would give it a favorable grade. Another audience member who had seen the original, and knew what he was walking into, gave it a decisive ‘A’. With all this in mind, I give Suspiria a B-.
About The Peetimes: This was an insane movie for finding Peetimes. There were subtitles, thick German accents, and cavernous rooms that made echoes. This is the first time I’ve found a 12 minute Peetime, and it’s got an “Alert” rating, because that protracted scene was the worst kind of carnage I’ve ever seen in a movie.
There are extra scenes during, or after, the end credits of Suspiria. (What we mean by Anything Extra.)
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