2015 Blind Spot Series: Suspiria

Based on the essay Suspiria de Profundis by Thomas De Quincey, Suspiria is the story of an American ballet student who attends a German ballet academy as she deals with its surroundings and a series of strange events. Directed and narrated by Dario Argento and screenplay by Argento and Daria Nicolodi, the film is an exploration into the supernatural and a woman who goes into the unknown as she copes with fear of this unknown. Starring Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bose, Alida Valli, Udo Kier, and Joan Bennett. Suspiria is a rapturous yet terrifying film from Dario Argento.

A young American ballet student arrives in Munich to attend a prestigious ballet academy where she encounters a series of strange events that led to the deaths of a few who either left the academy or were forced out. It’s a film that plays into a woman who wonders if this academy that she was asked to be in has some kind of secret where the first thing she sees on her arrival is a young woman leaving in terror as she screams some words during the rain. The film’s screenplay by Dario Argento and Daria Nicolodi doesn’t exactly play into traditional horror as it’s more about Suzy Bannon (Jessica Harper) coping with her surroundings but also the strange events that is happening where her roommate Sarah (Stefania Casini) believes that something is going on. Especially when certain things happen around Munich to a few characters as it seems like the ones who are killed are those who have antagonized someone in the academy. It adds to the since of intrigue and suspense where Suzy would ask questions about what is going on just as the pile of deaths start to get bigger.

Argento’s direction is very mesmerizing for not just the usage of the anamorphic lenses which captures a great depth of field of the rooms at the academy. It also helps establish a world that is unlike anything from its usage of the locations in Munich to the places some of the characters go to. Much of it is presented in a very stylish manner with lots of red as a backdrop of sorts as well as some lavish colors in some of the hotels and places where the film takes place. Argento’s approach to wide shots as well as some intricate dolly, tracking shots, and some stylish crane shots help play into the atmosphere of some scenes where it’s not about the suspense or horror but rather to play into what these characters are doing at the ballet studio. Even a simple scene where a child stares at a blind man’s dog would have a lot to say but would also create moments to slowly set-up the suspense.

The scenes of terror such as a sequence early in the film where this young woman named Pat (Eva Axen) who had just left the academy ponders what is chasing her. The moments of terror are swift as red definitely serves as a symbolic color not just because it’s the color of blood but also something much more. Argento’s approach to using colored lights help add to the atmospheric tone of the film while knowing where to play with the rhythms of suspense. Especially in the film’s climax where Suzy is forced to wonder what is really going on in this academy as it slowly unveils itself as there is also that sense of dread of something bad is about to happen. Overall, Argento crafts an intoxicating yet unsettling film about a young woman who goes to a place where dark things happen that she doesn’t know about.

Cinematographer Luciano Tovoli does incredible work with the film‘s cinematography with its usage on lights and color for many of the interior scenes including the ones set at night as it adds a lot to the look and tone of the film as it is one of the film‘s major highlights. Editor Franco Fraticelli does excellent work with the editing with its usage of jump-cuts and other stylish cuts to help play into the film‘s suspense and horror. Production designer Giuseppe Bassan does fantastic work with the design of the apartment the character Pat goes to early in the film as well as the look of the academy in its interior/exterior settings. Costume designer Pierangelo Cicoletti does brilliant work with the costumes as they all have an air of style to distinguish some of the characters including the very innocent Suzy who wears simple dresses and other clothes to play into her personality.

Makeup supervisor Pierantonio Mecacci does terrific work with the makeup for some of the characters including those who get killed in some of the most gruesome ways. The special effects work of Germano Natali are superb for some of the key elements that play into some of the film‘s terrifying moments including a very chilling scene at a plaza. Sound recordist Mario Dallimonti and the sound effects work of Luciano Anzellotti do amazing work with the sound as it helps create an air of suspense and atmosphere into some of the scenes as well in some of the film’s quieter moments. The film’s music by Dario Argento and the progressive rock band Goblin is phenomenal as it is another major highlight of the film with its discordant approach to progressive rock with its haunting keyboard textures, bombastic percussions, chilling string pieces, and all sorts of arrangements as doesn’t just help play to the horror but manages to do a lot for the film as it is one of the finest scores in horror.

The film’s remarkable cast include some notable small roles from Franca Scagnetti as a mysterious cook, Jacopo Mariani as a young boy living at the academy named Albert, Eva Haxen as the student who fled the academy in Pat Hingle, Barbara Magnolfi as the vivacious ballerina Olga, Udo Kier as a psychologist Suzy talks to about what is happening, and Rudolph Schundler in a superb performance as Professor Milius as a man who tells Suzy what he might know about what is happening at the academy. Miguel Bose is terrific as the silent but chilling servant Mark who always deliver food and wine to Suzy during her illness while Flavio Bucci is excellent as the blind pianist Daniel who gets accused of having his dog attack Albert.

Joan Bennett is fantastic as the academy co-director Madame Blanc as this mysterious woman who starts off as very kind and always listening to Suzy but has an element of ambiguity that makes her more compelling. Alida Valli is brilliant as Miss Tanner as this dance instructor who is stern but fair as she is also very ambiguous while being very antagonistic towards those who either question or criticize the academy. Stefania Casini is amazing as Sarah as a ballerina who believes something is up as she tries to figure out what is going on while giving notes to Suzy in case something happens to her. Finally, there’s Jessica Harper in a remarkable performance as Suzy Bannon as an American ballet student who arrives at this mysterious academy where she becomes ill as she wonders what is going as it’s a performance that does contain the conventions of horror but also one that is engaging.

Suspiria is a magnificent film from Dario Argento. Filled with a great ensemble cast, exotic visuals, intricate art direction, and a hellacious score by Goblin. The film is truly not just one of the finest films for the horror genre but also one that isn’t afraid to be style over substance. Especially as it plays into a heightened sense of reality where no one is safe and everything could be some form of dark reality with lots of blood. In the end, Suspiria is an outstanding film from Dario Argento.

Dario Argento Films: (The Bird with the Crystal Plumage) - (The Cat o’ Nine Tails) - (Four Flies on Grey Velvet) - (The Five Days) - (Deep Red) - (Inferno) - (Tenebrae) - (Phenomena) - (Opera (1987 film)) - (Two Evil Eyes) - (Trauma (1993 film)) - (The Stendahl Syndrome) - (The Phantom of the Opera (1998 film)) - (Sleepless (2001 film)) - (The Card Player) - (Do You Like Hitchcock?) - (The Mother of Tears) - (Giallo) - (Dracula 3D)

Related: Suspiria (2018 film)

© thevoid99 2015

There's Always Tomorrow (1956 film)

Based on the novel by Ursula Parrott, There’s Always Tomorrow is the story of a toy manufacturer who falls in love a former employee as he feels unloved by his wife and children. Directed by Douglas Sirk and screenplay by Bernard C. Schoenfeld, the film is an exploration into a married man’s decision to leave his family and embark into an affair with someone who cares about him. Starring Fred MacMurray, Barbara Stanwyck, and Joan Bennett. There’s Always Tomorrow is an engrossing yet touching film from Douglas Sirk.

The film plays into the life of a toy manufacturer who deals with the neglect of his family where he meets an old employee as he spends time with her and starts to fall in love unaware that his teenage son believes that an affair is happening. It’s a film that doesn’t require much of plot but rather an exploration into a family man who wants to regain some joy in his life as he feels like whatever plans he has with his wife is pushed aside for their youngest daughter. The film’s screenplay showcases the sense of frustration and ungratefulness that Clifford Groves (Fred MacMurray) endures from his family yet he would find some comfort in his old flame in Norma (Barbara Stanwyck) who had reinvented herself as a successful fashion designer. All Norma wants is to see how well Clifford has done and meet his family only to gain the disdain of his son Vinnie (William Reynolds) and teenage daughter Ellen (Gigi Perreau) who think the affair is happening though Vinnie’s girlfriend Ann (Pat Crowley) thinks that nothing is happening.

Douglas Sirk’s direction is quite simple yet contains some mesmerizing images and compositions into the way Sirk would frame some of the drama. Much of it involves some medium shots, a few wide shots, and some close-ups where Sirk plays into Clifford’s own sense of feeling unappreciated for what he’s done as his family seem to do other things. Sirk’s framing is very tight as he showcases the loneliness that surrounds Clifford while the scenes involving Clifford’s time with Norma are much livelier as the compositions are much looser though the scene where Norma eats with Clifford and her family is very tense. Especially as the drama starts to intensify in the third act when Vinnie and Ellen become very suspicious to the point that they would confront Norma.

Yet, it’s a very poignant scene where it is about not just Norma but Vinnie and Ellen in how they treat their father. What is more startling about the film other than its subject matter of adultery and the neglect of a family is how it ends where it’s very ambiguous which is pretty unusual for a melodrama made in the 1950s. Overall, Sirk crafts a very compelling story about a family man dealing with being neglected as he falls in love with an old flame.

Cinematographer Russell Metty does brilliant work with the film‘s black-and-white photography to convey the melancholic mood that surrounds Clifford while showcasing some unique lighting schemes to display the happiness he conveys when he‘s with Norma. Editor William Morgan does nice work with the editing as it‘s pretty straightforward with its seamless approach to rhythmic cuts to play into the melodrama as the editing also includes some dissolves and fade-outs. Production designer Alexander Golitzen and Eric Orbom, with set decorator Russell A. Gausman and Julia Heron, do amazing work with the look of the home Clifford lives with his family as well as the holiday resort he and Norma were at as they rekindle their friendship.

Costume designer Jay A. Morley Jr. does fantastic work with the design of the gowns from the dresses that Norma wears and creates to the more simpler dresses that Marion, Ellen, and Ann wears. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the scenes such as Clifford and Norma dancing to an old song as well as the sound effects of a toy robot that Clifford hopes to sell. The film’s music by Heinz Roemheld and Herman Stein is superb in its soaring yet somber orchestral score to play into the film‘s melodrama while music supervisor Joseph Gershenson brings in a soundtrack with some classical music and a standard that Clifford and Norma loved.

The film’s excellent cast features some notable small roles from Jane Darwell as the family cook Mrs. Rogers, Race Gentry as Vinnie’s friend Bob who also saw what Vinnie saw about his dad, Myrna Hansen as Bob’s girlfriend Ruth, and Judy Nugent as Clifford’s young daughter Frankie who is always calling on her mother unaware of her actions in causing her mother to neglect her husband. Pat Crowley is terrific as Vinnie’s girlfriend Ann who is troubled by Vinnie’s reaction to what he might’ve seen as she thinks that Norma isn’t a bad person while calling out on Vinnie’s immaturity. Gigi Perreau is wonderful as Clifford and Marion’s teenage daughter Ellen who is confused by the idea that her father is having an affair as she becomes lost in her confusion. William Reynolds is superb as Clifford and Marion’s son Vinnie as a late-teen who might’ve seen or heard as he becomes angry about his father’s supposed affair with Norma only to act in a very immature way.

Joan Bennett is brilliant as Clifford’s wife Marion as this woman who finds herself becoming busy with her youngest daughter as well as other duties as she unknowingly neglects her husband. Barbara Stanwyck is phenomenal as Norma as this old flame of Clifford who has reinvented herself as a successful fashion designer who wants to see what Clifford is up to as she also realizes she’s still in love with him while dealing with the realities of what their affair might cause. Finally, there’s Fred MacMurray in a marvelous performance as Clifford Grove as this very kind, loving man who feels unappreciated by his family for what he’s given them as he finds comfort in Norma where he tries to wrestle with his need to be happy and his devotion to his family.

There’s Always Tomorrow is a remarkable film from Douglas Sirk that is highlighted by the performances of Barbara Stanwyck and Fred MacMurray. Not only is this an intriguing film about adultery but also what would drive a man to risk his own marriage and family life as he becomes neglected by the people he loves. In the end, There’s Always Tomorrow is a splendidly rich film from Douglas Sirk.

Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)

© thevoid99 2014