A visually breathtaking horror movie with gorgeous use of it's sets. Extremely artistic with some of the most intense and memorable death sequences put on film. Jessica Harper is a classy and beautiful starlet that seem taken from a silent movie production and put into a color and sound film. Goblin's unique music add an extra dimension to the film. Only a few terrible supporting actresses threaten to ruin the film.
Digital restored, re-watched. Watching this movie on a movie screen is an exultant experience, even if it was in a digital print and not in 35mm. From all the sides I could catch it, I'll highlight the one that first came to my mind yesterday: that of a great amusement with the scenery, an extraordinary joy of filming, experiencing and destroying it, as in a very good Jerry Lewis. A superior exercise on telling.
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.