Dir.: Luca Guadagnino, Cast: Dakota Johnson, Tilda Swinton, Mia Goth, Cloe Grace Moretz, Lutz Ebersdorf; USA/Italy 2018, 152 min.
Luca Guadagnino follows his much praised Call Me By Your Name with a rather confused and overloaded vision of Dario Argento’s horror classic, using the original script by Argento and Daria Nicoldi, re-written by David Kajganich (A Bigger Splash).
Unfortunately the Kajganich has added new material, setting the narrative in Berlin at the height of the Baader Meinhof crisis. A running time of 152 minutes also tests the audience severely.
In the dank Autumn of 1977, Susie Bannian (Johnson) arrives from Ohio at the famous Dance School TANZ, near the Wall in West Berlin. There is an unsettling atmosphere at the academy, the two leading teachers Blanc (a luminously sinuous Swinton) and Markos are fighting for supremacy, the conflict a battle of life and death. Susie soon becomes the lead dancer, relegating Patricia (Moretz) and Sara (Goth) to the lower echelons of the troupe.
When dancers start to disappear, the sinister infighting turns more and more bloody. Enter Dr. Joseph Klemperer (Swinton in a miraculous double act spoof), a relict from WWII, who is still searching for his Jewish wife sent to the Concentration Camp Teresienstadt, where she was killed. The psychiatrist feels deep guilt over her death. As the nastiness at the Academy unfurls, a Witches’ Coven is uncovered and Klemperer’s role becomes more and more murky – in tune with this muddled affair.
DoP Sayonbhu Mukdeeprom creates magnificently macabre images, but in the long run this is not enough to save Suspiria from emerging an awkward mixture of two films, both competing for our attention. The acting is also mixed, with Swinton being head and shoulders above the rest (quite literally) in achieving visionary eminence. In the end the German history lesson loses out to the horror strand, but the brake comes too late. A needless remake where less would have been so much more. AS
NOW ON RELEASE NATIONWIDE FROM 16 NOVEMBER | VENICE FILM FESTIVAL 2018