The horror genre can range from the sublime to the ridiculous. This is especially true of the late Seventies, early Eighties where slasher movies had some mainstream acceptance. Moviemakers sometimes strived to deliver the blood without much thought to anything else. So where does Suspiria' fit into this sublime or ridiculous? When the movie is given some serious thought, the answer is not quite as simple as one would have thought it should have been. This is largely due to Dario Argento a well-known figure in horror. His complexities of character overrun this movie as he instinctively performs his task of directing. Below I shall outline some of the salient factors within the fabric of his foremost creation, which give it its place in the horror genre.
The first thing that strikes you is Argento's use of images and sound to create atmosphere. This is seen from the outset where Suzy arrives at the airport into a downpour with creepy music as a backdrop. She has now entered the world of the unnatural - unnatural evil. It is the lair of a dark foreboding force waiting for the next victim. The conditions are cold and the people even colder. We also see close-ups of water pouring down drains, something that is used throughout the movie as he attempts to create an illusion of the bloodletting and loss of life.
Even more striking is the architectural settings that are used. It is like Old Europe meeting Picasso and it is quite breathtaking. This is a signature of almost every Italian directed film that I've seen. It was evident in The Ninth Gate' thus accentuating the illusion of book readers having refined tastes and in Dracula' to give an indication of the ancient, dark evil that he is. The advantage here is that the story is easier to become engrossed in. The senses are fully engaged as the settings add real value to the storyline. Another world is created and we are not put off by realistic settings that can jolt you from the story.
The use of lighting is strongly emphasised by other users here and quite rightly so. Not only does it reflect the evil personality of the clan, but it also gives evil life to the dwellings. There was deliberate intent here that is proven by the death of the Black Queen, which causes the school to explode. This is a clever tactic since the majestic settings' thoroughly engages the imagination and our heroine is not only against the shapeshifting entities, but the whole complex itself. If we go to a place of splendour, we can feel the vibe that it gives it seems to have a life of it's own - and the shrewd camera technique takes full advantage of this.
The setting for the blind mans demise is a perfect example of this. The courtyard has an effect of foreboding power and when alone you could feel overwhelmed by the magnanimous aura. This effect is fully exploited by Argento. The sense of ever-present evil is also created by the set where they go to sleep away from the maggots. The blood red lighting that awash the sheets and walls is indicative of the intent of the not only of the horde, but of the school building. This setting becomes all the more macabre when we learn of the Directresses (The Black Queen) presence.
On the subject of the blind mans demise, it is also where one of the weak points of the movie is evident. The effects stand out as very weak to an audience used to high tech CGI. This will be a problem for most movies of this time period as advancements create realistic effects. We can easily see the fake blood and the mannequin. Even though the scene stands out as a truly gruesome murder scene, an Argento signature, this will diminish with time, as effects become more seamless.
One thing that is inescapable here, is the deep set misogynist element. This is overwhelmingly evident in the first and third murder scene where the victims suffering is drawn out and vicious at the same time. In the first one she is methodically and brutally stabbed instead of an all out knife assault which would have resulted in a quicker death. Argento even uses his own arm in these scenes to deliver the lethal blows. A slow death is the worst kind of death and that is meticulously planned here. As if this was not enough, she is hung for all to see with another woman creatively impaled below.
In the third murder scene, the woman seems to seductively ensnare herself in the barbed wire thus causing more suffering. Indeed Argento's complex personality is laid to bear in scenes like this.
Also one of the witches conjures up an image of a Frau Blitzen who teased the weak boys at physical training class.
As a lead - up to the first murder scene another shrewd ploy was used and that is of the presence at the window. The sensation of a presence draws in the frightened woman who looks but then draws away. But her curiosity gets the better of her as she is now driven by her fears a fear not uncommon to many members of the audience. The hanging clothes block her vision accentuating the effect of something hiding. Suddenly she is attacked through the window and the vicious assault begins. This scene with the assistance of surreal music and a room visually vibrant is one that will stay long with the audience.
Another camera trick used has its roots in Edgar Allan Poe. The wine glass is lifted to the camera as if we were drinking. This is an attempt to instil us in Argento's symphony of terror much like Poe used to do.
Italians seem to lay their souls to bare for their chosen art form. Perhaps a part of the emotive make up as they draw on all their senses to deliver a product to satisfy their particular artistic tastes. This is fortunate for movie fans. The camera work, lighting and music have already been mentioned, but sometimes this will not do when the required effect is necessary. In the first murder scene, an animal heart is stabbed. In the third murder scene, it looks like a chicken breast is being slashed in order to simulate a throat being cut. These attempts did not go unnoticed and do take the already gruesome scenes to another level, even if we can tell what has been done.
The story is not particularly of note, although I do not believe it is as weak as some say. The climatic scene builds up quite nicely as the heroine is given an insurmountable task, that is, to kill the Black Queen in her own lair. But she delivers one strike and as she perishes, the evil complex starts to disintegrate. For a movie that made its name out of scenes, it should not be the climax that is the let down. For everything to end in thirty seconds certainly went against the grain of the movie.
Where exactly this movie fits was not easily determined. But it was the creative use of sets, lighting and sound that ultimately elevates this movie above most in the genre. Any true horror must have this in collection. Cheap thrills were not the norm here as we are spellbindingly drawn into a wicked, cruel world of parasitic witches drawing their evil power from the weak and unwitting. Although there is ominous motivations in the make up of some scenes, there is no doubting Argento's talent and the contribution he has made to the genre. While you are reading this, I am probably searching for Tenebre'. I believe that there is an axe murder scene like no other. If Picasso did murder, perhaps it would be something like this.
The first thing that strikes you is Argento's use of images and sound to create atmosphere. This is seen from the outset where Suzy arrives at the airport into a downpour with creepy music as a backdrop. She has now entered the world of the unnatural - unnatural evil. It is the lair of a dark foreboding force waiting for the next victim. The conditions are cold and the people even colder. We also see close-ups of water pouring down drains, something that is used throughout the movie as he attempts to create an illusion of the bloodletting and loss of life.
Even more striking is the architectural settings that are used. It is like Old Europe meeting Picasso and it is quite breathtaking. This is a signature of almost every Italian directed film that I've seen. It was evident in The Ninth Gate' thus accentuating the illusion of book readers having refined tastes and in Dracula' to give an indication of the ancient, dark evil that he is. The advantage here is that the story is easier to become engrossed in. The senses are fully engaged as the settings add real value to the storyline. Another world is created and we are not put off by realistic settings that can jolt you from the story.
The use of lighting is strongly emphasised by other users here and quite rightly so. Not only does it reflect the evil personality of the clan, but it also gives evil life to the dwellings. There was deliberate intent here that is proven by the death of the Black Queen, which causes the school to explode. This is a clever tactic since the majestic settings' thoroughly engages the imagination and our heroine is not only against the shapeshifting entities, but the whole complex itself. If we go to a place of splendour, we can feel the vibe that it gives it seems to have a life of it's own - and the shrewd camera technique takes full advantage of this.
The setting for the blind mans demise is a perfect example of this. The courtyard has an effect of foreboding power and when alone you could feel overwhelmed by the magnanimous aura. This effect is fully exploited by Argento. The sense of ever-present evil is also created by the set where they go to sleep away from the maggots. The blood red lighting that awash the sheets and walls is indicative of the intent of the not only of the horde, but of the school building. This setting becomes all the more macabre when we learn of the Directresses (The Black Queen) presence.
On the subject of the blind mans demise, it is also where one of the weak points of the movie is evident. The effects stand out as very weak to an audience used to high tech CGI. This will be a problem for most movies of this time period as advancements create realistic effects. We can easily see the fake blood and the mannequin. Even though the scene stands out as a truly gruesome murder scene, an Argento signature, this will diminish with time, as effects become more seamless.
One thing that is inescapable here, is the deep set misogynist element. This is overwhelmingly evident in the first and third murder scene where the victims suffering is drawn out and vicious at the same time. In the first one she is methodically and brutally stabbed instead of an all out knife assault which would have resulted in a quicker death. Argento even uses his own arm in these scenes to deliver the lethal blows. A slow death is the worst kind of death and that is meticulously planned here. As if this was not enough, she is hung for all to see with another woman creatively impaled below.
In the third murder scene, the woman seems to seductively ensnare herself in the barbed wire thus causing more suffering. Indeed Argento's complex personality is laid to bear in scenes like this.
Also one of the witches conjures up an image of a Frau Blitzen who teased the weak boys at physical training class.
As a lead - up to the first murder scene another shrewd ploy was used and that is of the presence at the window. The sensation of a presence draws in the frightened woman who looks but then draws away. But her curiosity gets the better of her as she is now driven by her fears a fear not uncommon to many members of the audience. The hanging clothes block her vision accentuating the effect of something hiding. Suddenly she is attacked through the window and the vicious assault begins. This scene with the assistance of surreal music and a room visually vibrant is one that will stay long with the audience.
Another camera trick used has its roots in Edgar Allan Poe. The wine glass is lifted to the camera as if we were drinking. This is an attempt to instil us in Argento's symphony of terror much like Poe used to do.
Italians seem to lay their souls to bare for their chosen art form. Perhaps a part of the emotive make up as they draw on all their senses to deliver a product to satisfy their particular artistic tastes. This is fortunate for movie fans. The camera work, lighting and music have already been mentioned, but sometimes this will not do when the required effect is necessary. In the first murder scene, an animal heart is stabbed. In the third murder scene, it looks like a chicken breast is being slashed in order to simulate a throat being cut. These attempts did not go unnoticed and do take the already gruesome scenes to another level, even if we can tell what has been done.
The story is not particularly of note, although I do not believe it is as weak as some say. The climatic scene builds up quite nicely as the heroine is given an insurmountable task, that is, to kill the Black Queen in her own lair. But she delivers one strike and as she perishes, the evil complex starts to disintegrate. For a movie that made its name out of scenes, it should not be the climax that is the let down. For everything to end in thirty seconds certainly went against the grain of the movie.
Where exactly this movie fits was not easily determined. But it was the creative use of sets, lighting and sound that ultimately elevates this movie above most in the genre. Any true horror must have this in collection. Cheap thrills were not the norm here as we are spellbindingly drawn into a wicked, cruel world of parasitic witches drawing their evil power from the weak and unwitting. Although there is ominous motivations in the make up of some scenes, there is no doubting Argento's talent and the contribution he has made to the genre. While you are reading this, I am probably searching for Tenebre'. I believe that there is an axe murder scene like no other. If Picasso did murder, perhaps it would be something like this.