SUSPIRIA
(1977) Limited EditionDirector: Dario Argento
Anchor Bay Entertainment
SUSPIRIA
(1977) Limited EditionThe alchemical majesty of visionary horormeister Dario Argento is celebrated in Anchor Bay Entertainment's definitive release of SUSPIRIA: LIMITED EDITION. This relentlessly disturbing and baroque Technicolor nightmare is a powerful testament to Argento's cinematographic genius. This groundbreaking film easily defined a new era in Italian horror which had been ushered in previously by greats such as Mario Bava, Riccardo Freda and Antonio Margheriti.
The film commences with a frenetic, ritualistic drumbeat that permeates the credits and punctuates the satanic horrors of that which will follow. A voice-over begins to relate the story:
"Suzy Banyon decided to perfect her ballet studies in the most famous school of dance in Europe. She chose the celebrated Academy of Freiburg. One day at 9:00 in the morning she left Kennedy Airport and arrived in Germany at 10:40 PM local time . . ."
The elements rage as Suzy Banyon arrives at the airport terminal. Thunder roars throughout the night skies and incessant rain falls as the girl leaves the shelter of the Freiburg Airport and hails a taxi. The cab proceeds to the Tanzakademie where Suzy spies a girl rushing out the door, a student who has been asked to leave the school.
Suzy speaks over an intercom system but is told she is not expected and therefore cannot enter. The unfriendly voice demands she leave. Suzy rushes dripping wet into the dry safety of the taxi. As the ride continues back Suzy sees the student fleeing through the forest.
The unfortunate girl who fled checks into an elegant hotel in the city graced with a sensational Art Deco/Art Nouveau interior filled with stained glass windows. The apprehensive student is hypervigilent as though aware of a menacing presence. While standing near a window, a disembodied, hairy arm pulls her face through the glass. She is then stabbed multiple times with a huge knife. Even her heart is openly displayed (and bludgeoned) as her body is bound in rope and forced through a hole in the roof. Her body bursts through a stained-glass skylight, her neck bound by a noose.
The following day a blind man clad in black watches as Suzy attempts again to enter the Academy. This time she is allowed in. In a black-lacquer archway Suzy meets Mrs. Tanner who greets the girl and introduces her to Madame Blanc, the head mistress of the Academy. Somehow there is something almost evil in the demeanor of the two women, an icy, prideful quality. Soon Miss Tanner is showing Suzy about the school and letting her know some of the rules and regulations. She even mentions the gruesome murder of the fleeing student. Suzy is warned about developing "questionable friendships" as the tour continues. Suzy begins mixing with the students as Madame Blanc and Miss Tanner leave. She finds some to be very bitchy and unfriendly, others quite nice. She meets Mark, a soft-spoken, gentle soul and fellow dance student. He proceeds onward to change and prepare for dinner.
Suzy's roommate Olga delights in making trouble and attempts to intimidate and frighten the new girl. Ballet practice starts with all of the students going through their pirouetting and posturing. Miss Tanner enters the hall with Madame Blanc who informs Suzy she will now have a room of her own. The dreamlike music begins again with Suzy hallucinating the sight of the two women as the word "witch" repeats itself and the sound of possessed souls fill the air. Suzy begins to feel ill. Miss Tanner continues instruction. Suzy is in a state of near-collapse. The hardened Miss Tanner drones on with a demonic smile across her face. Indeed, Suzy falls to the floor with blood coming out of her nose and mouth. The girl is taken away to her bedchamber.
Madame Blanc marches through the hall and enters Suzy's bedroom. Tanner has summoned a Dr. Verdegast (shades of Universal Pictures' THE BLACK CAT!) to treat the poor girl. Tanner is told to give Suzy no food but red wine is permitted. The school bell sounds and Suzy prepares to join the other girls. Strange sounds issue from the hallway in the Academy dormitory. The screaming pupils follow this sound as maggots fall from the ceilings everywhere. The film continues to build an otherworldly suspense with visions and aural hallucinations, reaching a crescendo that will NOT be revealed here. However it DOES become apparent that Tanner and Madame Blanc are Satanists who intend to dispose of anyone who becomes aware of their secret.
SUSPIRIA had been intended to be the first in a horror trilogy chronicling the misdeeds of The Three Mothers: Mater Suspiriorum (Mother of Sighs), Mater Tenebrarum (Mother of Darkness) and Mater Lachrymarum (Mother of Tears). Argento's follow-up INFERNO is the tale of Mater Tenebrarum, set in New York City; however, the last segment telling the story of Mater Lachrymarum, set in Rome, never came to fruition. One can only hope Argento will return to film this trilogy even though his latest film, SLEEPLESS (2001), is more in keeping with the former glory of BIRD WITH THE CRYSTAL PLUMAGE (1969).
The reliance of architecture and symbolism combined with fairy tale magic that makes SUSPIRIA unique in its first spectacularly staged murder: a massive skylight of stained glass in the ceiling of the Tanz Akademie shatters as the bloodied corpse of a woman dangling from a noose bursts through. Graphic for its time, it sets the tone for the other imaginatively conceived killings.
The art direction by the team of Davide Bassan, Enrico Fiorentino, Massimo & Maurizio Garrone and Aldo Taloni is sumptuous and compelling. The team has reproduced bizarre architectural visions inspired by the Art Deco and Art Nouveau movements. Special effects master Germano Natali delivers Grand Guignol frightpieces in abundance here. The brilliant camerawork by Luciano Tovoli utilized color-gels in the lighting scheme to the extent that one can only assume the effect director/cinematographer Mario Bava had on this effort. There are Bava-like splashes of scarlet light throughout and alternating shades of deep midnight blues and forest greens. This also was one of Italy's last Technicolor motion pictures (as discussed in the documentary) and the rainbow hues are employed to maximum effect.
Argento has cast his film impeccably with recognizable European character actors as well as former glamour queens Alida Valli (forever remembered for her work with Hitchcock and Welles) and Joan Bennett (the leading lady for Fritz Lang's later noirs and the last hurrah for television's DARK SHADOWS). The ubiquitous Udo Kier is given the most dialogue in his cameo but alas, is dubbed, depriving us of his Peter Lorre-like delivery.
Jessica Harper is the thread that holds this spider web together. Her Japanese eyes and doll-like demeanor make her the perfect heroine for Argento's stylish exercise in horror. Having seen her performance in Brian De Palma's PHANTOM OF THE PARADISE (1974), Argento wasted no time in securing Harper's services. Her career is quite diversified as she has worked not only for De Palma but also appeared in SHOCK TREATMENT (1981), the not-so-successful follow-up to THE ROCKY HORROR PICTURE SHOW (1975) while taking time to appear opposite Steve Martin in the critically acclaimed PENNIES FROM HEAVEN (1981) and finally, Woody Allen in STARDUST MEMORIES (1980).
The anamorphic widescreen presentation (2.35:1) is flawless with dynamic THX Digitally Mastered Sound that will blow your mind (or what's left of it!). The theatrical trailers are presented: one is the international presentation (not bad) but the American trailer is fantastic. Poster and still gallery include some tantalizing international material such as fotobustas from the Italian release, German lobby cards that are colorful and fantastic. Talent bios are included making this an enriching experience for those who may not be knowledgeable about the director and crew.
The supplemental features are numerous and great fun for anyone who loves this film. The magnificent score by "Goblin" is presented in a video entitled "Daemonia." The three-disc set includes a CD with the entire score by the progrock group. The film is presented with the option of three audio tracks: English, Italian and French.
A 25th Anniversary documentary on the making of SUSPIRIA is the genuine highlight of this presentation which is itself definitive and a must for all who esteem SUSPIRIA as a classic and Argento's work in paricular. On-camera interviews and commentaries feature Argento himself (in Italian with English subtitles), Daria Nicolodi, Jessica Harper, Udo Kier, Stefania Casini, cinematographer Luciano Tovoli, and Goblin band members who speak about the sound effects in the film.
This Limited Edition contains a splendid booklet filled with photographs from the film, an erudite appraisal of the film by Travis Crawford plus an excellent interview with Jessica Harper conducted by Scott Michael Bosco. Harper discusses with Bosco the fact the film was shot in silent format, as sound effects and dubbing would be added later. This fact recalls both the epic spectacle and horror film tradition of the late 50s and early 60s in Italian cinema, as this method was the rule rather than the exception. The set of 8 color National Screen Service stills are reproduced (in 5" X 7" size) and included in this effort.
Anchor Bay Entertainment has created the perfect template for how to put together a special edition disc. SUSPIRIA: LIMITED EDITION is breathtaking, brilliant and wondrous. Kudos to everyone at Anchor Bay for this one! (Christopher Dietrich)