Suspiria

  • Italy Suspiria (more)
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Widely considered to be the most shocking and hallucinatory horror movie in history and described by Argento as an escalating experimental nightmare, Suspiria stars Jessica Harper as a young American ballet student who arrives at a prestigious European dance academy and is confronted by a series of bizarre and horrific deaths. Packed with vicious violence, ultra gory effects and dazzling cinematic set pieces, Suspiria is a gruesomely gothic masterpiece of the macabre. (Umbrella Entertainment)

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gudaulin 

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English From the extensive film work of respected horror filmmaker Dario Argento, I have only had the opportunity to watch Inferno from the early 90s, which I only remember as having a decent atmosphere and that's about it. Thus, I approached one of Argento's most acclaimed films with certain expectations. The film cannot be denied the effort to create the aforementioned atmosphere, the director works with sound, camera, and architectural elements, and it manages to create truly oppressive feelings at times. Unfortunately, in order for it to work, it would have to maintain a feeling of unknowingness, and mystery, not revealing the essence of phenomena to the viewer, because the moment you understand what's going on, it all falls apart. In the case of Suspiria, it would actually have been enough to have the absence of any meaningful plot and focus only on the aforementioned atmosphere. Otherwise, it starts unpleasantly resembling attempts at artistic pornography from the 70s. There are many disturbing elements in the film, from heavy performances in supporting roles to the naivety of certain scenes and even the disruptive English, because the director was counting on an international audience from the beginning for commercial reasons. If this is supposed to be the showcase of Dario Argento's work, then I will gladly avoid the rest of his work. There is much more interesting stuff to be found in this genre elsewhere. Overall impression: 45%. ()

RUSSELL 

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English A legendary horror film by master director Dario Argento, Suspiria boasts stunning visuals and a unique soundtrack by Goblin. Argento's distinct style is most evident here, more than in any of his other films I've seen. The film excels in creating a captivating and terrifying atmosphere, greatly enhanced by the music, which elevates the scare factor to its peak. The final scene is a pure horror climax, and I can vividly imagine the reactions of audiences when it premiered in 1977. Suspiria ages like fine wine, and with each viewing, I appreciate and enjoy it even more. ()

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EvilPhoEniX 

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English Dario Argento in form! In Suspiria, Argento shocks us first and foremost with excellent, eerie visuals using bold colours and a crushing soundtrack that is one of the most terrifying I've ever heard. There are elaborate deaths that you just won't forget, even if the shade of the blood sucked, the highly involved double-murder scene at the beginning of the film is still one of the best horror scenes ever. It's an atmospheric blast that, oddly enough, suited me just fine. I look forward to the remake! ()

J*A*S*M 

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English I must apologise to Suspiria. Up until today it was harmed by my two-star rating resulting from the first unsuccessful screening, when I was probably still not ready for this Italian horror classic. Yesterday at midnight I had another go and WOW! It’s awesome; one of the most terrifying horror movies ever. A unique artistic stylisation, amazing music, and an atmosphere that you could cut with a knife… The only problem is the plot with several naive moments (the pace counting was bullshit, really). I am very surprised and very satisfied and, under the influence of this experience, in the near future I will rewatch other horror films that I didn’t like the first time around. ()

Othello 

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English Pretty uncharacteristic for the late seventies in building a relationship between the film and the viewer, which makes the kind of details nobody cares about, like logic, acting, or story, completely incidental to the individual scenes. These, thanks to the aggressive lighting (which the characters don’t notice, only the viewer) and even more aggressive music, do not create a classic filmmaker's attempt to let the viewer empathize with the characters; on the contrary, they deliberately alienate them and push them into a voyeuristic position where the outcome of the subsequent development of the scene is clear, thus creating not a sense of fear, but a sense of guilt. Which is pleasantly sick. ()

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