Special Effects: B
Spoiler alert: I don’t know what the fuck is going on in Suspiria, and I’m not convinced you will either. Or if you do, maybe you can get back to me and fill me in? Because I am at a loss.
More specifically: what, exactly, are all the witches led by Madame Blanc (a truly fantastic Tilda Swinton, the only great thing about this movie) preparing to do with this new talented dancer arriving at a 1970s Berlin ballet school, Susie (Dakota Johnson)? This is the central conceit through most of this far too long, 152-minute film, culminating in a bloody climax bewildering in its excess, and I could not tell you what was supposed to have happened to Susie in the process. Is she possessed by one of the “three mothers” in the end? Was she actually one of them all along? Susie possesses a curious confidence throughout this story, no matter how truly bizarre and incomprehensible things get.
Swinton, by the way, plays multiple parts. In addition to Madame Blanc, she is also plays the one significant male part, a German psychiatrist by the name of Dr. Josef Klemperer. If this is some abstract feminist statement, it is neutralized a bit by the fact that both the director (Call Me By Your Name’s Luca Guadagnino, whose previous film, A Bigger Splash, also starred both Dakota Johnson and Tilda Swinton — and was much better than this) and the script writer (David Kajganich, also of A Bigger Splash) are men. The original, Italian 1977 version of Suspiria was at least co-written by a woman; in this largely incoherent remake — still set in the seventies — one is left to wonder whether a woman director and/or writer would have made the same choices. By the end, it seems to indulge in blood and gore just for the sake of blood and gore.
To put it more succinctly: at the beginning of this Suspiria, I didn’t know what the fuck was going on. Then Susie arrives at this ballet school, and a comprehensible story seems to be taking form. And by the end . . . I didn’t know what the fuck was going on.
With that in mind, what else can I tell you about it, really? There is a sequence relatively early on in which a spell put on Susie during a rehearsal performance is translated into an instantaneous curse on one of her classmates (Elena Fokina), forcing her into mimicked dance moves to such an exaggerated degree that her limbs are twisted to the point of breaking countless bones in her body. It is effectively horrifying, and the one moment in the film that makes it feel like things are going somewhere.
Later — much, much later; this movie is way too long — the dance troupe puts on a fantastically choreographed performance, shot with equal parts beauty and tension, itself a sequence that could have had far greater impact if it had not occurred far past the point of losing interest in whatever the hell is going on. It’s directly after this great dance, swirling around Dakota Johnson as its star, when witchy rivalries come to a head, more ritualistic, dark dances of the sort that would certainly horrify your conservative aunt take place, and virtually everyone onscreen gets drenched in blood. It’s perhaps what Stephen King’s Carrie would have presided over had she gone on to become a Satanic cult leader.
Suspiria is the sort of movie that prides itself on being simultaneously impenetrable and obtuse, far more enamored with itself as “art” than as storytelling. I can see Film Theory students gleefully intellectualizing its countless contradictions, debating its themes, whatever the hell they are. Some say this movie exists in a theoretical region where any viewer can ascribe any label they like to it, and perhaps that is true. So I’ll take my own stab at it: this is a movie with literally nothing to say.
That is, not even as an example of the horror genre. Sure it has its disturbing moments, but I generally avoid horror films because I don’t like being startled or scared. The very opening sequence, the only scene in which we see Chloë Grace Moretz as the running-hysterical ballet student Susie has come to replace, seems designed to set us up for that very expectation: the horrors she runs from are what we are in for. This movie is more interesting in being confusing, to the point of nullifying any potential horrors.
I would have been better off just taking a nap.