Suspiria, 1977. Directed by Dario Argento. Produced by Claudio Argento and Salvatore Argento. Story by Daria Nicoldi. Screenplay by Dario Argento and Daria Nicolodi. Cinematography by Luciano Tovoli. Edited by Franco Fraticelli. Production Design by Giuseppe Bassan. Music by Goblin. SFX by Germano Natali. Starring: Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bosé, Barbara Magnolfi, Susanna Javicoli, Eva Axén, Rudolf Schündler, Udo Kier, Alida Valli, Joan Bennett.
… you wait forty years for a 4k restoration of Suspiria then two turn up at the same time! Over in The States, Synapse’s Don May has been struggling manfully with his for something like a tenth of that period but CultFilms have stealthily beaten him to the punch with their European release of TLE’s take on the most visually beautiful of all Horror Films. Before either of them had aired in public there was much internet discussion and comparing of screen grabs with the intention of establishing which version would prove most successful in correcting the technical errors (too fiendishly complicated to go into here) that have marred previous releases. May’s strongest hand all along has been that Luciano Tovoli, the film’s cinematographer, has supervised his Suspiria… then again the CultFilms / TLE rendering was overseen by Dario Argento himself, who’s presumably entitled to a view on how the film should look and sound.
Ultimately we’ll all have to pay our money / take our choice and as long as each version is only viewable in its own territory, one of the first things we Europeans (semi-detached and otherwise) will have to go on is this October and November’s Cultfilms UK mini-tour. After its premiere at the BFI during the London Film Festival on 06/10/17, the TLE Suspiria rolled into Nottingham on the 14th October for a centrepiece Saturday late night screening at the Broadway Cinema’s peerless Mayhem Film Fest (full Festival report coming shortly on this blog).
Kudos to Festival co-curators Chris Cooke (who had previously told me that presenting such a restoration was a personal dream come true) and Steve Sheil, who introduced “Argento’s masterpiece” by asking how many audience members had never seen the film before. As it happened, a significant proportion of the audience admitted to being “Suspiria virgins”…
… and what a way to lose their cherries! If the Synapse version is going to look any better than this, we’ve surely got to be talking infinitesimal degrees of cinematic lusciousness. Miraculously, considering the extent of the repairs that were reportedly needed, not a hair nor a scratch now sullies the candy coloured phantasmagoria of Argento’s vision. As for those much called-for corrections to the film’s pallet… suffice to say, you’ll feel an overpowering urge to lean into the screen and lick the marzipan walls of the Tanz Akademie, hopefully grabbing a kiss from Jessica Harper before returning to your seat and getting beaten up by the ushers.
Soundwise, the film (not least Goblin’s celebrated score) is every bit as loud and frantic as you knew it was going to be… if a little flat. Was there something up with The Broadway’s speakers? Nope, various films of varying quality (none better than Suspiria) made effective use of the venue’s surround sound speakers throughout the Festival. Is it just that Suspiria was conceived, reasonably enough, without reference to the state of audio technology 40 year’s hence? Was there a problem with the relevant elements? With the sonic aspect of this restoration? With my ears? Will the Synapse jobby sound a little punchier? Watch (or should I say listen to?) this space…
Don’t get me wrong… it doesn’t sound crappy, it’s just not quite the outright audio assault for which Suspiria is famed. No matter, I didn’t begrudge one iota of the expense required to get me home after leaving this particular late, late show with those virgins’ applause ringing in my ears. They now knew what they’d been missing and I was reminded, after years of video / DVD / BD over-familiarity, that Suspiria is quite possibly The Greatest Horror Film Ever Made. I don’t imagine too many visitors of this Blog are going to give me to much of an argument on that one.
Now for the contentious bit…
What constitutes a giallo? Various definitions have been offered. From the get-go we’ll dismiss the philistine broad stroke one that encompasses virtually any Italian exploitation picture. We’re talking here about those thrillers, descended in equal parts from the yellow (“giallo”) covered paper backs published by Mondadori and co, German krimis and Hitchcock, whose rule book was developed by Mario Bava during the ’60s and upgraded by Argento throughout the following decade.
So if we were to have a, er, stab, at definition, it would look something like this. A killer is at large (usually in an urban Italian setting) and the viewer is challenged to work out his / her identity. His / her motivation can be madness, sexual sadism, an inheritance… it scarcely matters (and the motives revealed, even in some of the genre’s classier entries, are frequently risible nonsense) because the style and severity with which the crimes are perpetrated and filmed are more important than who is killing whom and why. Subjective shots from the killer’s point of view will keep you guessing, anyway, as flashy visuals continue to be prioritised over narrative coherence. The cops generally take a powder in these films, leaving the sleuthing to some obsessive amateur who, more often than not, has half-glimpsed an all important clue but is struggling to make sense of it. Just in case this recipe isn’t already sufficiently un-PC, among the bloodily dispatched victims we will typically find a disproportionate compliment of attractive young women.
You don’t have to honour every one of these rules to qualify as a giallo. Michele Soavi’s Stagefright (1987) throws the whodunnit element right out of the window (we’re aware of the killer’s identity even before he inaugurates the movie’s sequence of killings) yet is frequently cited as one of the genre’s last great entries. Some gialli do admit cops, e.g. Massimo Dallamano’s What Have They Done To Your Daughters (tellingly also known as The Police Require Assistance, 1974), Sergio Martino’s Suspicious Death Of A Minor (1975) and Alberto De Martino’s Strange Shadows In An Empty Room / Blazing Magnum (1976). Some of the grubbier gialli substitute smut for style (most notoriously in Mario Landi’s unpalatable Giallo In Venice, 1979) and setting their events outside of the Italian urban milieu has not discounted Lucio Fulci’s Lizard In A Womans Skin (1971) and Don’t Torture A Duckling (1972), Umberto Lenzi’s totally barmy Eyeball (1975) or just about all of Sergio Martino’s powerful entries in the genre… so why should its Austrian setting disqualify Suspiria, a film which in every other way adheres to the genre’s golden rules?!?
So it’s not contentious at all, actually… It’s a no-brainer. It makes no difference that the question “Who’s the killer?” is answered with a shrieked “Witch!” I always get slagged off for arguing this and no doubt will be again, but if it looks like a giallo, struts like a giallo and cuts its way through its victims like a giallo, then it’s probably a giallo… and Suspiria is a giallo. Yes, it’s a turbo charged giallo with heavy supernatural overtones and cinematic style to burn. But let’s try not to hold that against it, eh?
You have been reading “SUSPIRIA At Mayhem 2017. It’s In 4K… On A Big Screen… And It’s A F**king Giallo, Alright?!?”