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Post by pacinoyes on Jan 20, 2019 11:33:22 GMT
This is I believe the first thing Argento has ever said about the final film - I reviewed it earlier in this thread and kind of knew how he'd feel, although saying you could get inside the mind of Argento and his "feelings" is pretty scary. He of course is polite, not mean, and even what he says is respectful to the final product. I wish he would do something new and special - I always thought Argento, as original a filmmaker ever in cinema - would have great things to say about aging - a film about, I don't know, dementia or your mind slipping away, a man haunted that and by a series of murders for decades, the fear of his own encroaching death, a sort of NCFOM crossed with a giallo.........jeez, why do I have to come up with everything!?! Grrrrrrrrr. The giallo master has shared his thoughts on the film with Radio Rai 1’s Un Giorno da Pecora (per the Film Stage), saying that “it did not excite me, it betrayed the spirit of the original film: There is no fear, there is no music. The film has not satisfied me so much.”www.indiewire.com/2019/01/dario-argento-suspiria-remake-luca-guadagnino-1202036691/
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Post by Deleted on Jan 20, 2019 18:06:54 GMT
I have no real affinity for the original (or for giallo films in general), so that may make a difference in my perception of the remake. I simply found Guadagnino's take on the story to be more elegant and engrossing.
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Post by Tommen_Saperstein on Jan 29, 2019 6:22:09 GMT
honestly I'm kind of glad I got to watch this with an unprejudiced perspective. The original continues to elude me so I got to watch this a Suspiria virgin and although it takes time to settle into its groove (the film was oddly off-putting at first), it had me hooked--pardon the expression--in no time. And can we all please admit that the Volk performance is one of the most exhilarating cinematic moments of 2018? Every technical aspect of this film was nothing short of miraculous. The feverish, tense editing. The cinematography with its muted browns and reds and gritty 70s callbacks (apparently Ballhaus was an inspiration and it shows, but I can also see some of Nykvist's The Tenant in there). The overwhelming sound design that gets under your skin and penetrates your senses with menacing whispers, cries of unspeakable dread and the snap of every broken bone. The production design both oppressive and immersive in a foreign world out of time (the reconstruction of the era is breathaking). The dance choreography is electrifying...Now, take all these elements and put them into a single frame and you have a film impossible to look away from. I was entranced and intoxicated. I'm almost expecting to wake up tomorrow with a hangover. I'd give it an 8.5 for now and just say that it's one of my favorite films of 2018. A masterpiece of mood and tension. Highbrow political commentary meets giallo gore. It's gross and I love it. And it's fabulous. And goddamn if the ending isn't just so satisfying. The sins of a political movement washed away with the blood and guts to the tune of Thom Yorke while the naked witches dance.
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Post by JangoB on Jan 29, 2019 11:21:54 GMT
honestly I'm kind of glad I got to watch this with an unprejudiced perspective. The original continues to elude me so I got to watch this a Suspiria virgin and although it takes time to settle into its groove (the film was oddly off-putting at first), it had me hooked--pardon the expression--in no time. And can we at least admit that the performance sequence is one of the most exhilarating cinematic moments of 2018? Every technical aspect of this film was nothing short of miraculous. The feverish, tense editing. The cinematography with its muted browns and reds and gritty 70s callbacks (apparently Ballhaus was an inspiration and it shows, but I can also see some of Nykvist's The Tenant in there). The overwhelming sound design that gets under your skin and penetrates your senses with menacing whispers, cries of unspeakable dread and the snap of every broken bone. The production design both oppressive and immersive in a foreign world out of time (the reconstruction of the era is breathaking). The dance choreography is electrifying...Now, take all these elements and put them into a single frame and you have a film impossible to look away from. I was entranced and intoxicated. I'm almost expecting to wake up tomorrow with a hangover. I'd give it an 8.5 for now and just say that it's one of my favorite films of 2018. A masterpiece of mood and tension. Highbrow political commentary meets giallo gore. It's gross and I love it. And it's fabulous. And goddamn if the ending isn't just so satisfying. The sins of a political movement washed away with the blood and guts to the tune of Thom Yorke while the naked witches dance.
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Post by DeepArcher on Feb 12, 2019 5:28:27 GMT
An over-cut, thematic mess of a film with admirable ambitions to be an historical horror epic. Thom Yorke and his otherworldly soundtrack deserved much better, especially as it often feels that the filmmakers forget that they have it at their disposal. There's a lot to like in Suspiria, from the music to the choreography, to its enthralling scope and its ultimately subversive take on the female horror lead. Guadagnino spends quite a bit of time stalling, though, and for a film so constantly vapid with such blank-slate characters, the buildup is hardly worth it. It's ripe with sociopolitical window dressing, a color palette so muted that it must be putting an active effort into distancing itself from Argento, and only a vague sense of atmospheric dread that struggles to build into something more. Even the much-lauded makeup effects are rather cartoonish, and the jury's still out on whether or not that was the intent. It's successful only in sporadic spikes as a horror film, more or less peaking comparatively early-on with the already-infamous contortion scene, admittedly effective more because of the creativity of the concept than because of how it's presented. Really, much of the horror fails because of how explicit it makes the source of the terror, and even how early it does so. Any sense of mystery has evaporated within the first forty-five minutes of the film, and after that there's hardly any palpable eeriness to get under the skin. There are certainly some moments of mesmerizing imagery and viscerally gut-wrenching gore and physicality further down the line, but the means to get to those ends are just really problematic. I don't really want to say I disliked it because it always impresses me when something this ambitious and ballsy gets made, and distributed by a major studio no less -- but, uh, let's just say I wasn't exactly in-synch with its motions.
I may try to watch this again in the future when it comes to Prime, I may not. I feel like there's a chance I may like this more on a repeat viewing, but for now, this doesn't do it for me.
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