Dario Argento's Suspiria
As each new piece of cinematic excrement is ejected from the mind of Dario Argento I begin to think that Suspiria might have been a fluke. Each successive Argento picture is puked up onto a wounded and insulted fan base, one which has no option but to retreat into the mists of time to remind themselves why they liked Argento’s films in the first place. This period is generally recognised as being the 1970’s. There has developed a rose tinted view of this decade in horror circles; propagated by those who were around at the time (unfortunately this generation pretty much still sets the parameters when it comes to horror discourse) and their nostalgic agendas to tell us it was better in their day. Argento directed six films in the 1970’s, three of them (Bird with the Crystal Plumage, Deep Red, and Suspiria) were very good, the other three (Cat O Nine Tails, Four Flies on Grey Velvet, and The Five Days of Milan) were poor to average. Even in Argento’s decade of peak creativity he only had a strike rate of 50%. The 1980’s was even more frustrating, a series of the films that were impressive in part, but failures as a whole. Argento has proven himself to be a mediocre filmmaker, time has shown him to make more poor and dissatisfying films than good ones. So what makes Suspiria such an exceptional film? The answer of course lies in the talents he surrounded himself by. There are three key elements to Suspiria, which if extracted, would damage the film irrevocably.
© Shaun Anderson 2010