Italian director Dario Argento has a childhood memory of his own to relate in an interview in the documentary "Dario Argento's World of Horror", which is one of the special features on my DVD of his film Suspiria. "We lived in a big house," he says, "and every night, after saying goodnight to my parents, I would have to walk alone down a long dark corridor to my room. Each half-open door on either side of that corridor seemed like a threat, harbouring the unknown. My hair would be on end, night after night." The director believes his obsession with scaring people stems from that time.

As the credits roll, a solemn voiceover informs us that Suzy Banyon, a young American student, has come to Germany to join a famous dance academy. The film opens with Suzy (played by the gaminish Jessica Harper) walking to the airport exit, and a sense of menace is created almost immediately by the most quotidian elements: the automatic doors through which she walks, the howling of the wind, water flowing into sewers, the cab driver who takes her to her destination. This early scene is reminiscent of Marion Crane's car drive in Psycho - a journey to the netherworld, with rain and lightning heralding the way. It ends with a similar image too: a menacing building (the Bates Motel in Psycho, the dance school here) coming into clear focus through the rain-soaked night. Welcome to Hades.
Contributing immeasurably to the mood in this scene, and in the rest of the film, is the pounding soundtrack – very new-age, very punkish – by the rock band Goblin, with whom Argento frequently collaborated. Whispers of "witch!" punctuate the music score at intervals; Suspiria is not especially subtle or discreet about the mysteries of its plot, or about what Suzy will find at the dance school. You don't have to be a student of the genre to figure out early enough that the secret involves a witch coven.

Few directors can match Argento's talent for evoking unease without ever providing the viewer with a convincing explanation (even when there is an obligatory narrative justification). Brian DePalma is superb at it, as is David Lynch. (Hitchcock too of course, but he worked for the most part within the narrative structures defined by Classical Hollywood, and didn't experiment with avant-garde storytelling techniques as these guys did.) Suspiria is a strange, beautiful movie that makes the pretence of disclosing its secrets early on, but which remains fundamentally enigmatic even after you've watched it several times. When the supernatural is explicitly presented to us towards the end of the film, it's almost anti-climactic. But what continues to haunt the senses for days after you've seen the film are the shadows on the wall and on the swimming pool, and the strange behaviour of the seeing-dog.
(Warning: Suspiria doesn't contain anything that's inordinately gruesome, apart from a brief shot of a still-beating human heart being punctured through a chest cavity. But in general, Argento's work, balletic though it is, isn't for the faint-hearted.)
Some links: a Senses of Cinema profile, a classic Argento site Dark Dreams, and an excellent sub-section on Italian Gothic Cinema from Images Journal. And this on the Italian Giallo genre, which often provided the structure for Argento's plots.
I saw this film only last year and I had already forgotten most of the things until I read your post. the only thing I remember distinctly is the hysterical background score, specially in the first scene.
ReplyDeleteI also don't share your enthusiasm for this film. I think it remains a collection of disjointed set-pieces. Although expertly staged, they never cohere into a narrative or any meaningful whole just because Argento isn't interested in either exploring thematic questions or character's psychology. All he is interested in is making the scene "beautiful" by putting in more and more colours into the frame and through elaborate production design.
He is, I would say, the Bhansali of Horror movies. And that's not a compliment by the way ;)
The young Hitchcock was also quite naïve when it came to women and sex. He was 25 (or 26) and directing a film, when one of his actors refused to get into the water for a particular shot. When quizzed, she replied that it was ‘that time of the month’. Poor Hitch was baffled, until a colleague took him aside and educated him on the female anatomy and its functioning. Amazing, when you think of Hitch as the guy who created the cool and classy blonde, with fire and a raw sensuality simmering beneath the surface.
ReplyDeleteLoved your blog, by the way. Read a few posts randomly. Especially liked the piece on 'the stench of second hand books'. Keep blogging.