Suspiria, a remake of a 1977 horror classic, will test viewers during an outstanding year of horror.
By all counts, 2018 has been a standout year for horror. The Quiet Place became one of the year’s earlier breakout hits, and in its opening weekend this month the Halloween remake smashed box office records. Hereditary may be the standout, fusing horror and art to create a chilly, lingering impression on its audience with images that emblazon themselves on the mind.
Then there’s Suspiria. If Place and Halloween were for wide audiences and Hereditary is for those willing to invest time into an experience, then Suspiria is for only the most devoted to the genre — and those who have the willpower to stay and watch the entire thing.
It’s not as much a remake as a “cover version” of the 1977 Italian giallo film of the same name. Director Luca Guadagnino (responsible for last year’s Call Me By Your Name) kept the central premise of a ballet academy governed by a coven of witches, but changed the way much of the story played out. Something that remains the same is Susie Bannion (here played by Dakota Johnson) arrives in Germany to attend the dance academy headed by Madame Blanc (Tilda Swinton).
At a hefty 152 minutes, there’s not much reason to suspect supernatural horror in the film without the knowledge of its source material. Like many of his films, Guadagnino prefers to let the ambience marinate before getting to the action. Disturbing images flash across the screen in dream sequences, and there’s a general sense of unease, but the film takes its time to develop its 1977 German setting.
Which only adds to the shock value when, a decent way into the movie, things suddenly turn horrific. Distraught by the disappearance of a friend, dancer Olga (Elena Fokina) lashes out at the academy’s staff. They punish her by locking her in a mirrored dance room and attaching her movements to Susie’s, who is performing a passionate dance solo in another room. Similar to voodoo magic, Olga loses control of her movements as her bones break and body contorts from Susie’s movements. It’s a queasy sampling of body horror, and sends a clear message — if you can’t handle that, you may not want to stick around for the rest of the movie.
Because this is far from a movie for everyone. Guadagnino seems to take on several styles of direction here. There are quieter character-building scenes, presented gracefully. There’s slow-burning, suspense-building scenes, complete with harsh camera zooms and turns to pay tribute to the original. And then there’s the horror sequences, which aim more to disgust than to scare. It all feels disjointed, like trying to capture and assign importance to every nuance of the 1977 film. It’s challenging viewing, especially for the runtime.
After Guadagnino’s silkily poetic Call Me, which wedged itself deep into last year’s Oscars conversation and earned Best Picture and acting nominations, there’s no question he’s a talented filmmaker. As expected, Swinton delivers a haunting performance, taking on several roles without breaking a sweat. All the pieces are here. If Guadagnino’s mishmash of styles here was intentional to further discomfort the viewer, that would be no surprise. But that means the viewer will be discomforted.
Look at Suspiria as a challenge — if you survived Hereditary and are looking for more this year, give it a go. At the very least something about it will stick with you — whether for good or bad reasons was never the point. ••
