I watched Suspiria and I really liked it! 4/5
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Dario Argento‘s Suspiria (1977) is nothing short of a nightmare on film—a surreal, unrelenting descent into horror that marries the supernatural with baroque aesthetics. A tour-de-force in visual storytelling, the movie is a vivid, feverish spectacle that sacrifices logic for a hypnotic, dreamlike quality. It’s a horror film unlike any other, emphasizing sensory overload through its stunning use of color, disorienting camera work, and one of the most iconic scores ever composed for cinema. For fans of atmospheric horror, Suspiria is a must-watch.
The plot of Suspiria follows Suzy Bannion (Jessica Harper), an American ballet student who travels to a prestigious dance academy in Freiburg, Germany. What initially seems like a promising opportunity soon takes a dark turn as strange occurrences and brutal murders begin to plague the academy. Suzy eventually uncovers a sinister secret lurking within the school’s ornate walls: the institution is a front for a coven of witches.
While the narrative is somewhat straightforward, the film’s power lies not in its plot, but in its execution. Argento doesn’t waste time on the intricacies of witchcraft lore or complicated backstories. Instead, he creates a nightmarish experience through visuals, sound, and sheer mood. The pacing is deliberate, and while the film takes time to build its tension, each set piece feels like a crescendo, plunging the audience deeper into a hallucinatory nightmare.
One of the first things that stands out in Suspiria is its extraordinary use of color. From the moment Suzy arrives at the academy, the film bathes the audience in a kaleidoscope of reds, blues, greens, and yellows, with lighting that feels more akin to a dream or a stage play than a typical horror film. Argento was famously influenced by Disney’s Snow White and the Seven Dwarfs, and that influence is clear in the primary colors that dominate the screen. The school itself becomes a character, with its labyrinthine hallways and Gothic architecture drenched in colors that evoke both beauty and terror. The visuals in Suspiria are so overwhelming that they almost function as a narrative device in their own right, heightening the otherworldly horror that envelops the characters.
Complementing Argento’s visual flair is the unforgettable score by Italian prog-rock band Goblin. From the first note of the title track, Goblin’s music creates an atmosphere of pure dread. Their score is aggressive, almost intrusive, with its repetitive, pounding rhythms and eerie, whispered vocals. At times, it feels like the music is attacking the audience, refusing to let them sink into any kind of comfort. The way the score builds tension is masterful, with its constant presence giving the film a sense of inescapable doom.
While Suspiria is undeniably a feast for the senses, it is not without its flaws. The thin plot and lack of deep character development might frustrate viewers seeking a more conventional narrative. The acting, too, can feel stilted at times, with some performances verging on melodramatic, although Harper delivers a compelling performance as the wide-eyed Suzy, whose descent into terror is palpable. However, these shortcomings are largely overshadowed by the sheer stylistic audacity of the film.
The kills in Suspiria are brutal and operatic, presented with a flair that has since become synonymous with giallo films. Argento’s approach to violence is both shocking and stylized, with each murder playing out in a choreographed dance of blood and color. While the gore may not be as extreme by today’s standards, the imaginative ways in which the deaths are staged continue to leave an impact. There is a reason this film leaves a lasting impression and is still loved today.