Suspiria - 2018

I agree with most of your post. As for the being nothing like him, well, obviously Mario Bava was a big influence on Argento, and often a superior filmmaker, and there's always Lucio Fulci, and then the rest of the giallo crew. I actually think The Beyond at the very least is a better film than anything Argento made after Opera, probably better than anything after Tenebrae, to be honest.

 

Bava was an influence, but I'm not sure that detracts. I don't watch Bava anywhere near as often as Argento, personally. I've also watched many a giallo - but none beat the likes of Tenebrae or Bird with a Crystal Plumage, Cat O Nine Tails, imo. I guess it's all about personal opinions.

Argento's career has an arc, like every other Director. His later films were mostly miss. He certainly was/is not consistent. The third Three Mother movie ought to have been a career high, but seldom have I been so disappointed by a film. Basically, it's awful. He also made a version of Dracula which is out and out bad. Hell, his Phantom of the Opera is just ridiculously poor. That said, the last film he made that I really like is Sleepless.

Fulci? Huge fan! Again, non-linear plots, often including wild fleets of imagination that'll have mainstream fans running for the exits screaming "but it makes no sense!"

Fulci was again a master of the set piece, and yes The Beyond is one of my favorite horror films. In fact I like almost every Fulci film. Once again, later in his career when financing for Italian cinema took a dive, he found himself making silly TV shows, or films without much merit, but that's how it goes. Funnily enough I was playing the soundtrack album to Zombi 3 just yesterday - a film he made half of, and then quit.

I think it's too simplistic to take the very best of these filmmaker and make a competition of it. Fulci was great, but he never had the sense of color that Argento had (and yes, Argento got some of that from Bava). That single crane shot in Tenebrae when we go from one side of the building to the other in one take, is awesome. Argento also has an artistic flair to his gore, whereas Fulci is more foot to the floor horror. It's all damn good.

I'd also mention - all of these films are graced by incredible soundtracks. Giallo's, just about all of them, are simply fantastic in this regard, with the likes of Morricone, Frizzi, Goblin and the rest stretching out in Lounge Jazz noodlings and even silly pop/disco tunes. It's absolutely priceless. We're so lucky to have had these films made and preserved, imo.

 

It does sadden me to think that Fulci is mostly remembered for his gore epics, which he himself (from all reports) regarded as garbage (albeit financially successful garbage). His Westerns and giallo like One on Top of the Other and A Lizard in a Woman's Skin are excellent, and indicate he was indeed a talented journeyman filmmaker rather than the low rent hack he ultimately became due to necessity. A real shame.

 

Oh, I don't think it in any way denigrates him. In fact, the opposite. By all accounts he was, erm, difficult to work with, and that ought to have been a larger concern, imo. Fulci's gore film are just brilliant, and many filmmakers spend their entire time trying to make something memorable, and failing. His gore epics are remembered because they're very very good films, imo. He did make some films that were more mainstream, but he'll always primarily be remembered for his gore films, I think. That's to hs credit!

 

Interesting that this remake is using a color palette directly opposite to the original. Maybe because that's what defined the original?

I've also read that the remake will have a story structure opposite to the original, with lots of plot and character development.

 

If you're going to remake a classic like this, then I think making too many changes is a mistake. The original has that late 70's vibe, and that can be updated effectively. On the other hand, the color palette, the plot, the set pieces, the music - these are all things that has made the film attractive to revive in the first place, so you change them at your peril.

I'll be honest, the trailer has me sitting on the "nah" side of things. I'll watch it to see, but my hopes are dwindling.

 

I think they've played it right - there's no need for a remake. And a remake that tried to take on Argento on his own ground would fail totally.
The only option if you are going to make a completely pointless and unnecessary remake is to 'correct' Argento's 'failings' i.e. make a film with conventional plotting and characterisation.
That way, you might end with a okay and watchable film, at least.
And, as I said above, i do think that Neon Demon is a good modern riff on Suspiria, one that's more faithful to Argento's visual and surreal plotting approach than the official remake, so watching that is an option, if you must have an Argento-like Suspiria remake.

 

‘Suspiria’ Conjures Eight-Minute Standing Ovation At World Premiere, Divides Critics — Venice

 

Film festivals... who claps for eight minutes?! Sometimes you read it was 20 minutes. What a load of crap.

 

This touches on a wider topic, imo. We could debate the purpose of remakes.I think. If the remake is going to wander far from the original, then I really don't see the point at all. Just make a new film. A remake is, after all, trading in the reputation of the original. I think the remake has a debt to the original.

I've clearly not seen Suspiria remake, but I will when I can. Argento has never had mainstream success, so it's highly likely the majority of people seeing this new version won't have any reference to the original version. I think there are some warning signs in the trailer, imo.

 

The trailer looks very good, which doesn't always mean much. The last thing we need is a remake trying to be Argento's film. We already have that.
That the director seems to be following his own vision is a positive sign for a good film.

 

I was prepared to immediately write this off, but after watching the trailer Im not so sure. I'm quietly optimistic. It appears it will have it's own visual style but with little tips of the hat along the way with regard to camera work, colours etc and a more fleshed out storyline. Kind of excited to see what they pull out for the finale when the secret passageway is discovered. So, overall I say bring it on !

 

No. Jeez.

 

An early very positive review. Doesn't seem to have any real spoilers.

Fantastic Fest Journal: Suspiria (2018)

 

I saw this last night. Shouldn't be any spoilers below.

It bares little resemblance to the original film and takes a long time to unfold. It is incredibly bleak and monotone in colour, but this makes the colour all the more shocking when it is shown. The violence is different, but still incredibly shocking when it appears. The acting is top notch, some of the supporting characters retain that slight hint of overacting from the original. There are also some hints to Argento's film in the choice of camera angles and framing of the shots.

In terms of story, I found the final act packed a lot of information into a short period and I missed some of the dialogue (the sound was bad in the theater), but it slowly unfolded into a good story. Personally I read things into it more in line with the NY times reviewer on wikipedia than any trump connotations (not everything is about him), for example struggles between women and politics of feminism (maybe? I can't go into more without adding spoilers). There was a growing sense of foreboding through the whole film, I knew something was going to happen with witches, but didn't know what, hints of Rosemary's baby maybe.

Overall I found the tone more meloncoly that horrific (there is a piano motif that reminded me of a Fulci score rather than an Argento score for example). It's a film that will stay with me for a long time, Suspiria 2018 is far different than what I expected, but better than what I hoped for and will take a while to digest.

 

Thanks for the non-spoiler review. I'm looking forward to this.

 

What did you think of the Devil's Honey. There was some scene with a girl getting a Saxaphone lesson in nude thigh highs. I would buy it just for that!

 

I've only seen it twice over the years, but I recall thinking it was an interesting enough mid-80s thriller - more akin to Fulci's earlier gialli. Yes, there's a ridiculous softcore saxophone scene that is about as erotic as it sounds.

 

Your experience of the film was exactly what I was hoping for. I have no need for another Suspiria (ala Argento), but what you've described has me far more intrigued than previously. Thanks for your comments.

 

Saw this today, and really liked it. It's a bit slow in the early going (unlike the original which has a great opening sequence) but does pay off. Other than the basic setting (Berlin, dance school, witches) its completely different. Some very striking sequences. I didn't like the music at all, though.

I too missed some of the dialog just from not being quick enough to read subtitles when I looked away. I'll see it again when its available to rent. One comment on the big sequnce during the fifth act (the one before the epilogue, I might be off on my numbering:

Spoiler

I loved the ritualistic dance sequence, but wish it had stayed with that look and not gone to the slow motion stylized look. I find things like that much creepier when they are out in the open as opposed to hidden in color filters, slow motion, and (to me) really bad music.

Dakota and Tilda were really good in this.

 

Finally saw this, as it was the last night it was playing here in Vancouver. Big fan of the original so was very apprehensive with many love it/hate it reviews. What was scaring me off was the length and that it was boring. But from the first second I was enraptured and 152 minutes later it could be one of the best films I've ever seen. Guadagnino claims it to be a cover version not a remake and if you can understand that then it really hits home. Listening to an interview he mentioned his horror influences for the film. These are all my favourite films: Psycho (1960), Blue Velvet (1986), The Shining (1980) and the films of David Cronenberg (The Fly). Their influence visually and thematically aid in the visceral experience. The scene in the new Suspiria that is getting the most praise/disgust is a continuation of Norman Bate's knife, Frank Booth's mask and Jack Torrance's axe.

The crux of the film is really the plight of Josef Klemperer (played by Tilda Swinton under a lot of prosthetics) a doctor who gets involved with the doomed dancers and is tormented by the loss of his wife in the Holocaust. Reviews see his character as some side story distraction but they totally miss the point. Susie becomes the side character, she is a witness to our pettiness and weakness as represented by the Doctor and witches.

The ending is the most problematic so here is my take :

Spoiler: Ending

The doctor, who at first dismisses the dancers as disillusioned, must face his guilt/denial and witnesses the horrific final sequence (episode 5) where Death (portrayed by the same actress who is Susie's dying mother) does it's damage to the unfaithful witches. However the scene also reveals the courage to stand up against the evil and Death actually gives peace to the tortured souls. This leads to episode 6 the final epilogue where Susie as the real Mother of Suspiriorum reveals the wife's heroic end. It is fitting his wife is played by Jessica Harper, the original's protaganist. The scene is beyond touching and makes me believe that the horror is really man-made. It is not supernatural. It is us that is evil, and our insecurity and misunderstanding can lead to death and destruction as represented by the Holocaust. But our humanity to love and care for each other is also real. We need to stand up against tyranny even if it means our death. The movie starts in the rain and remains overcast and bleak in the winter but ends in sunshine with the etched heart in stone.

It is a shame that this is not in more theatres and there is so much misreading of the film. Try to see it in the theatre if you can, the visuals are great, the music is fine, (listen for Nina Hagen and Harmonia not just the Thom Yorke) and if you're not a Tilda Swinton fan, time to get on board. There is more in each scene with lighting, angles and editing that most films can only hope for in their entirety. Yes, it is not the Argento classic but it attempts the same notion of putting ideas on a screen to move you, to scare you and to make you think. Guadagnino has done that admirably and any fan of true art should see this.

 

Thought this was fantastic and loved the score. It does require a lot from the viewer so it's not a film fans of modern US horror films will get at all, or like. It's more like a European art film, like Possession.

i love the original but it's so stylised that it would be absolutely pointless to try and recreate that or remake it, so I'm glad they have taken just the basic premise and gone from there.

highlights are the brilliant score, which is quite integral to the film more than i thought it would be, the great acting, some pretty great special effects and the period setting which is recreated really well.

a great achievement all round.

 

saw this a little over a week ago. overall it's commendable for trying something, and it's certainly not a reenactment by any stretch, but there's at least a half of hour of this film that's virtually worthless. the middling score is improved by all of the extra "spooky" bits that have been added to the sound design, and visually, there are moments that are quite arresting. I'm also kind of in love with Mia Goth. gets a bit too preachy toward the end and loses points for trying too hard to be politically aware circa 2018.

 

Saw it last night finally after looking forward to it for a long time. I'm a huge Tilda Swinton fan and also haven't seen the original.

I have to say that I loved it so much. It was a total visual spectacle and feast for the eyes, and Tilda Swinton's acting was just insatiable. Can't wait for the home media release to watch it again.

And Thom Yorke's soundtrack goes perfectly with the movie!

 

Don't do much for me.
Not enough Tilda Swinton perhaps.