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Suspiria
Director – Luca Guadagnino
Actor – Dakota Johnson, Tilda Swinton and Mia Goth
Note – 3/5
Director Luca's production of Suspiria Guadagnino, on Amazon Prime Video, has so little to do with the original clbadic of Dario Argento that he could just as easily drop the title and try his luck with a lawsuit. Well argued, I think a jury can be convinced that the two films have absolutely nothing in common
. These differences are deliberate and often discordant – ranging from the decision to ignore the sinister visual palette of the original to the addition of a dense historical subtext. It is no wonder that Argento considers Guadagnino's film a personal affront. "It did not excite me," he said in a recent interview, adding that he thought "betraying the spirit of the original film".
Watch Suspiria's trailer here
And it's not hard to understand why Argento was so offended. For starters, the new Suspiria is not at all a horror film, any more than it does not care at all about appealing to a general public. Guadagnino seems to be more interested in using the genre to make radical political statements than to frighten – which makes sense, because Luca Guadagnino, director of Call Me by Your Name, is hardly a filmmaker. 39; horror.
That being said, Suspiria is – visually and tonally – different from anything he has done in the past. In addition to keeping the services of her lucky charm / muse, Tilda Swinton – she plays three roles in the film – and her usual team, Suspiria finds Guadagnino in a refreshing and daring artistic space. Like his characters, he chooses to restrain himself more drastically than ever. Freedom – mental, physical, psychological – is a theme discussed in his previous films and plays an equally important role in Suspiria, which is largely confined to claustrophobic spaces.
The central character of the film is actually in direct conflict with the idea of freedom, having grown up in a house where she did not have one. Dakota Johnson, who is very pro video game, plays the role of Susie. This is a young Mennonite native to Ohio who abandons her old repressed life in favor of the artistic freedom offered by the famous dance academy of Madame Blanc in Berlin, which, as revealed at the beginning of the film , is a facade for a group of witches. 19659005] It is implicit that Susie suffered some form of abuse from her mother, who is only curiously seen on her deathbed. Mrs. White badumes the role of foster parent in many ways, bringing to Susie the emotional support she craves so much she will leave everyone at the academy dazzled by her flamboyant talent.
Maternity is another important recurring theme and, despite a lengthy two and a half hours, the film only has time for the lead role of a man. And even that is played by a woman.
This subversive trend continues in Guadagnino's sharp political commentary. He places his Suspiria at a very special period in history – the complex German autumn of 1977, when a faction of the radical left, very clearly overcompensating the sins of their parents, decided to eliminate the last vestiges of the Nazi party a city that was literally divided at the time. This factual plot is played out in the background, through television reports and newspaper clippings, as in Brad Pitt's film Killing Them Softly, who used the Great Recession and the 2008 US Presidential Election to create his own ideas. .
On the surface, one may wonder why an apparently seemingly disconnected secondary plot exists – its complete extraction could have reduced by one hour of execution and perhaps made Suspiria a more enjoyable experience.
But the idea of generational guilt is an integral part of the story told by Guadagnino. For example, the central dance that the girls of the academy try to master was first created in 1948, in the shadow of the war. And the witches themselves seem to be of a rather complacent nature, having moved away from the past of their coven – this contrasts nicely with the Baader-Meinhof group, who clung desperately to the sins of the previous generation to justify themselves. Disturbing nihilistic ideas are at stake here – Guadagnino seems afraid of not having learned from our mistakes, and the direction we are taking should allow us to reproduce them again.
One of the main Argento critics of the film was that "there is no music". This is categorically wrong. In fact, Thom Yorke's vertiginous "score" is one of the highlights of the film. It's almost as if Guadagnino had asked the famous rock star to create a concept album on the theme Suspiria and integrate it into the film. Some of the most haunting images – especially towards the end – work mainly because of Yorke's music and desaturated images of Sayombhu Mukdeeprom.
The new Suspiria is about as fun as to be writing a thesis on the original film – which makes sense, because that's what it is.
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The author tweets @RohanNaahar
First publication:
May 03, 2019 6:15 PM IST
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