HungFist wrote: ↑06 Feb 2019, 06:58
Suspiria (Italy/USA, 2018) [DCP] - 4/5
One of the most unique remakes of all time, Luca Guadagnino's bleak, socio-political depiction of feminism in a school of witches in divided late 70s Berlin shadowed by the memory of Nazi war crimes. It’s also a deliberation of art and humanity. Almost impossible to digest on one viewing, it's hard to cast the final judgement yet on whether it’s deep or just trying, but it is interesting as hell. Decidedly different from Argento's original, it stands firmly on its own two feet except the gory ending where some of Argento's audio-visual bravura might have been welcome after all. Oh, and half of the film is spoken in German, including Jessica Harper's entire role (she doesn't have a single English line).
Suspiria (Italy/USA, 2018) [DCP] – 4.5/5
Second viewing and I’m starting to lean towards a 4.5 rating. Last time I saw a film twice in theatre it was Blade Runner 2049, which did not improve on the 2nd viewing (due to strong plot focus, I think, which made some segments boring) where as Suspiria did.
I’ve seen some people say the film is overlong and pretentious, even question if Dr. Klemperer’s character is necessary. I think that’s only true if you mistake Susie for the main character! The main character, well, the most important character at least, is of course Dr. Klemperer, and the movie is about 1977 Berlin which features a school of witches, not about a school of witches in 1977 Berlin.
I can see where the criticism is coming, this is a new version of an Argento fever dream after all (even I longed for an Argento style climax on my first viewing). But at the same time I think it’s absolutely insane to wish a remake to be a copy of the original. We don’t need such a film, and we don’t need such restrictions imposed on filmmakers. Thankfully Suspiria 2018 only shares two or three scenes with the Argento film. Isn’t that the best thing that could happen to any original?
Why call it Suspiria then? Because, why not?
It’s cool that the new film excels on the exact areas that Argento’s film ignored: dance and location. In Argento’s film dance really didn’t matter – it could’ve been a gymnastics or swimming school just as well – whereas in the new film dance becomes a form of self expression for oppressed women. Likewise, few people probably even remember that Argento’s film was set in Berlin because it made no difference at all, while in Guadagnino’s film the location is the most important thing in the whole film. Divided, Nazi-traumatized Berlin of course goes extremely well with the oppression and feminism theme.
Beautiful, fascinating film, and not a minute too long. My only gripe: few seconds of nasty CGI at the end.
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