Suspiria

Suspiria (1977) is Dario Argento's best-regarded work, yet I'm ambivalent towards it. Judged purely on aesthetic grounds it's a masterpiece, a riotous meshing of imagery, sound and blood. Yet its deliberate incoherence only works up to a point, fizzling out in an unsatisfying conclusion.

American ballerina Suzy Bannion (Jessica Harper) arrives at a German dance academy. Weird things are a-doing: a student was recently murdered after running away from the school, Suzy becomes ill shortly after arrival, maggots infest the academy's attic. Other murders occur, and Suzy's friend (Stefania Cassini) hints at supernatural occurrences. Turns out the dance academy was founded by Helena Markos, a Greek emigre accused of witchcraft. Is this mere superstition or a horrifying truth?

Suspiria is a cinematic fever dream like no other. Argento and photographer Luciano Tovoli employ a wild visual scheme, splashing the screen with primary colors that contrast with odd art deco design. This unworldly quality is echoed in Goblin's soundtrack, surely one of the most memorable even: its combination of rasping whispers and shrill musical stings can induce nightmares without the imagery. The soundscape terrifies too, with evil's presence signified by raspy snoring and the finale's horrifying screams. On style points, Suspiria ranks among the greatest horror movies ever. 

Slasher movie fans will delight in Suspiria's ghoulish slayings. There's the bone-chilling opening, where a student (Eva Axen) and her friend meet a gruesome end. The gore effects are extreme (a shot of a heart getting stabbed?) but stylish enough not to seem exploitative. An even stronger set piece follows a blind man (Flavio Bucci) and his dog through a colossal amphitheater. Argento stages much of the scene in wide shot, the forces of Evil sizing up their next target, Goblin's soundtrack subdued for eerie silence and dog barking. Even the build-up can't prepare us for the pay-off - surely the worst imaginable way to go.

All of Suspiria's superior artistry doesn't stop it from being a mess. The lack of strong narrative isn't fatal: Deep Red had a simple plot, but maintained drive despite its predictability. Suspiria, on the other hand, stalls repeatedly between killings: one egregious sidetrack has Suzy visit a psychiatrist (Udo Kier) and professor (Rudolf Schundler) who provide reams of belated back story. The last 20 minutes go completely off the rails; Susan's confrontation with the Big Bad proves underwhelming. After all the build-up, vanquishing the Mother of Sighs just seems too easy.

Jessica Harper makes an appealing heroine, completely baffled yet determined to puzzle out the situation. Harper did relatively few films: her best role remains My Favorite Year. Stefania Cassini makes a good counterpart. Argento casts some interesting supporting players: Alida Valli of The Third Man and Senso plays one of the headmistresses, alongside Joan Bennett (TV's Dark Shadows). Udo Kier plays the psychiatrist. Argento enlists Rudolf Schundler as a mythology professor; that actor has a pedigree stretching back to Fritz Lang's Testament of Dr. Mabuse. Daria Nicolodi cameos as a victim.

Suspiria is a mild disappointment. I admire Argento's manic style, but his storytelling ability deserts him here. That's not to dissuade you from watching: it's certainly a unique film, just not a great one.