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Saw the remake last night. I thought it was great. It felt like Guadagnino had absorbed the Argento version at a molecular level, then rebuilt a totally unique version of the story from his point of view. Despite being wildly different than the original, it still retained the elements that make Suspiria “Suspiria,” which is a pretty amazing feat, since the screenplay seemed to operate from the point of view that whatever choice Argento and Nicolodi made, the opposite choice should be explored. The original’s German setting is arbitrary? Make it a direct part of the story. Psychologist character exists solely to give a brief exposition dump? Center him as the primary instrument of unraveling the mystery. Not really all that much dance despite the setting? Make the dance an essential element. The school itself teaches ballet, which has strict and codified methods? Now it’s a neo-expressionist style that is driven by emotion and improvisation. The coven is very lightly sketched? Dive deeply into their inner workings.Suzy is a mostly dazed and unaware victim of the coven? Make her Mother Suspiriorum. And on and on. The net effect of these choices and Guadagnino‘s direction is actually that the fairy tale quality of the original is amplified. The core elements that are at play in both versions begin to feel like some deep seated, ingrained folklore that is being played out as a 2018 art film. I am a huge fan of the original, and have probably seen it on average once a year for the last 20 years (I know I’ve seen it in the theater at least 5 times). This new version completely exceeded my expectations. In my opinion, it doesn’t really exist to be compared in a qualitative sense to the original, they both are great in their ways.
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Nov 3, 2018 14:03
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discoukulele posted:I'd also be super interested in hearing people's thoughts about the faculty member who's constantly dejected and crying. I kept waiting for an explicit reveal that she's the current embodiment of Mother Lachrymarum (the Mother of Tears), but then she just went and spontaneously offed herself.. I think that she had some feelings that Susie was Mother Suspiriorum right from the start, but she voted for Markos in the voting scene. Eventually, she can’t bear the thought of the vengeance that is coming for her, so she kills herself? I dunno. Have to listen to her character be called and her response on a rewatch.
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Nov 3, 2018 17:36
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mary had a little clam posted:Is there a good reading on why Bader-Meinhoff was always going on in the background? I'm aware of the phenomenon (when you learn something new and suddenly see it everywhere) but it seemed like the filmmakers were using the event/group itself as a thematic reference. Any ideas? warez posted:Yeah, I’m curious about this too. The reasonings I’ve read (“terrorism as a type of performance”) feel inadequate. I read that the cell dissolves in time with the coven narratively, and with the divided Berlin setting it could be intended as a reflection of the main narrative. I might need to watch again and see. Um, well, this isn't particularly elegant or anything, but there are a lot of themes of division in the movie-- East and West Germany, Markos and Blanc, the Amish and the Mennonites... a lot of split pairs (pears).
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Nov 6, 2018 03:16
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