Guadagnino’s swooping and whooping camera work on the beloved ’70s classic horror flick is a head scratching gore vision that conjures you through your curiosity rather than your fear. First of all, this has always been an edgy tale, even back in the Argento’s version, it is a concept that asks you to reach out for it. Nevertheless, the narration guides you to it where its abstractness is the double edge sword, for if it gets fixated in its vague nature, not only does it loses its audience but the grip on the characters itself.
Fortunately, Guadagnino is the just the guy that such a script demand, he takes his time, chews on the perspective properly and delivers a thrilling outcome to look forward to. Since one can imagine from the theme of the film, it relies a lot upon technical aspects like choreography, art designing, sound effects and makeup artist. And even though it delivers few jaw dropping scenes, the art designing feels a bit short handed especially in its last act; in their defense it is too colossal to frame it on a screen. Personally, I would choose this comprehensive display of Guadagnino’s mythological dance academy than Argento’s horror, which now looks like it was just skimming off the surface.
To admire, among various aspects, Guadagnino’s acceptance towards tilting the world on a more mythological genre than the horror one is the smartest above all; it doesn’t hold back, if it is set loose it is allowed to flow with butter smoothness. There is a general acceptance in the air of the upcoming storm among the characters, that allows the viewers to think beyond just the screams and chills of harrowing visions. Johnson in the lead, of both the act and the storytelling, fails to live up to the lethal sculpting of her character. She is neither poised, nor jaggedly on mark to express in her well choreographed dance.
Her lefts and rights may not match, but the plasterization of a numb and scary face favors majorly on her side. Balancing the incompetency on performance objective lies Swinton’s stunning act. From the chaser to being chased by and from the reacher to being reached by, she has foliated the characters with her accurate vision on their role as individual being that will fool you. Despite of ticking for more than two hours, the film never seems overstretched, it’s Guadagnino’s magic trick of sweeping all the essential points on one big sequence, that keeps you tangled in this pathos world.
Even for the frequent viewers of such a bloodbath film, it can be too much, especially if any of the sequence is considered as a “blah”, every step is a part of the act, even the news on the radio or television has a lot to say about his mature vision, it has too much to say and is too much subtle. Make no mistake, this fantasy, takes its rumors seriously, dipping itself deep into the good’s and bad’s of the world, it is a perpetually engaging drama where the real romance of the film is Johnson and Swinton’s mellow chemistry. Suspiria has always been ahead of its time, we weren’t ready for The Mothers back in the ’70s, neither are we now.