Dario Argento'nun bale okulunda yarattığı gotik betimleme ve gölgelerle ışığın birbirine farklı şekillerde kaynaşmasının filmde kullanılması, bunun yanında kamera kullanımındaki canlılık filmi nefes alıp veren bir esere, kırmızının ağırlıklı kullanımı ve ölümün anlık sunumundaki yansıtılan sadist anlatım eseri, bir korku başyapıtına dönüştürüyor.
Having seen SUSPIRIA more times growing up than I could possibly be expected to count, finally seeing it in all its glory on a big screen (w/ big sound!) has been a revelatory experience. This is a film which continues to offer us a transcendent mimesis of certain narcotic and psychadelic species of experience. Argento had not previously proffered unto the public anything that was quite this much Id. A ravishment.
Jugendstil horror with flaring colours. The first murder scene is one of the finest in movie history. It’s pure aesthetics with sinister content, a perfect combination of visual style, Goblin’s music, and suspense. The rest of the film doesn’t quite live up to this scene but it’s still mesmerising and atmospheric like hell.
An essential film, no doubt. Many a young horror fan's mind has been torn open by Argento's most popular and stylistically accomplished work and one couldn't wish for a finer example of horror as art. Yet, stripped of its importance to the genre, Suspiria falls prey to some of Argento's very worst storytelling and dialogue sins as well as a serious dearth of forward momentum. Easy to appreciate, hard to love.
Taking from Disney pictures with its motifs and from German Expressionism in its ravishing aesthetic, Suspiria is a fairy tale for grown-ups. The interaction between the girls is childishly humorous, and the entire plot of the film follows an absurd nightmare logic. It's both nonsensically silly and chillingly creepy. It could be for kids, that is if the murder scenes weren't so unapologetically brutal and scary.
Dead red: brazen, bravura and battily overwrought nonsense in one of the gaudiest colour pallets imaginable. However it's the avalanche of mismatched shaping and tonality that make the abrupt sensory slaps of art and musical direction such an off-kilter triumph. Verisimilitude is a poor second to say the least. Nevertheless, rarely has such wanton blood letting looked so gratuitously gorgeous and without impunity.
Si può amare un film con una trama (di fatto) incosistente? Certo che si può, se c'è un Dario Argento in stato di grazia alla regia, pronto a sprofondare in un manierismo fatto di scenografie superlative di Bassan, la fotografia di Tovoli e le musiche dei Goblin. Un cult da vedere sul grande schermo per vedere il modo in cui il maestro indaga e gioca con lo spazio. Un must