REVIEW: Suspiria

Suspiria is a film, like Sleepaway Camp, that I had heard touted as essential viewing for any fan of the horror genre, one of the most frightening films ever made. Having witnessed it firsthand for the first time, I can't exactly say I'm disappointed. Released in 1977 and directed by Italian giallo filmmaker, Dario Argento, Suspiria is most definitely effective, if not consistently coherent.

The story focuses on Suzy Bannion (Jessica Harper), an American ballet student pursuing further education at the illustrious Tanz Dance Academy in Germany. Following her arrival, Suzy begins to notice a number of strange occurrences; after a string of murders, she begins to suspect that all is not what it seems at her new school, and that something much more sinister may lurk behind the walls of the aging academy. To be perfectly blunt, the plot is not this film's strongest suit. While the pace hardly ever drags, plot points are introduced whenever it's convenient for the story and the progression of events is not always the easiest to follow. There's a good deal to nitpick in regards to the plot (the most glaring flaw being an exposition dump involving a psychiatrist near the beginning of the final act), but this is not a film that is famous for its story. To focus on the plot of Suspiria would be the equivalent of focusing on the sense of realism in Army of Darkness. That is to say, anyone who focuses on the plot of this movie is completely missing the point.

The thing that makes Suspiria such an effective horror film is its aesthetic. Everything from the set design to the color to the soundtrack (care of the band, Goblin) works in tandem to keep the viewer in a constant state of unease. It was one of the last feature films to be shot in Technicolor, and the process lends everything a vivid, sometimes garish, quality. It feels like something out of a nightmare; primary colors (particularly red) seem to pop out of the screen, and the lighting can shift tones and hues at any time. There's abundant manipulation of darkness and shadow, so you're never quite sure where someone or something might be lurking. The cinematography helps sell the scares, as tight angles instill a feeling of claustrophobia and paranoia. There's no telling what could be waiting just outside of the frame (rest assured, the film knows this is a concern of the viewer and exploits it wholly).

It would be impossible to talk about this movie without mentioning the sound design. This is easily one of the best horror scores I've ever heard, providing just the right tinge of unease to the atmosphere. The gentle chimes, backed by sinister vocals and chants, can become deafening at times. In a stroke of genius, the film makes it impossible to not take note of the score; this makes it all the more unsettling when we are met with total silence. The movie actually trains the audience to fear a lack of sound. Before the end credits roll, silence becomes the most sinister, suspicious noise of all. I've always believed that the key to good horror is the ability to manipulate the viewer's expectations; to, over the course of the film, condition them to subconsciously fear specific subtleties. Suspiria is a film that demonstrates its mastery of this concept with aplomb.

If there's one thing I must criticize the film for (aside from the plot), it's the ending. The mystery presented is an engaging one; the film enchants you with its dreamlike qualities, it makes you want to know what's going on. The result isn't disappointing, per-say, but I didn't find the climax quite so terrifying when compared to the rest of the film. Make no mistake, the tension is thick and the suspense is killer, but, as the American tagline for the movie said, "the only thing more terrifying than the last 12 minutes of this film are the first 92". The scariest scene by far happens within the first fifteen minutes; it's a haunting, iconic sequence, but the climax just didn't feel worth the incredible amount of build-up during the third act. I would recommend going in with tempered expectations; it's well-done and will certainly send a chill down your spine, but I can't help but find it a tad anti-climactic.

If you're looking for a horror film that will play with your senses and envelop you in its distinct atmosphere, you'd be hard pressed to find a better candidate than Suspiria. It's no wonder that this film is considered a classic entry in the genre; I honestly can't think of anything I could even compare it to. It manages to be unorthodox and incoherent, yet it's still able to hold your attention and leave its mark thanks to the engrossing visual style (backed up by the chillingly enchanting soundtrack). If you consider yourself a horror hound like myself, you owe it to yourself to check this one out. There's also talk of a remake, to be released next year. I'm rarely keen on remakes as it is, but this is a film that is defined by the style of the era it was made in. It's the epitome of pointless; take if from me, the spine-chilling original is the only one you'll ever need.