"Suspiria": the most anticipated horror of the year. Starring Dakota Johnson and Thom York Soundtrack

"Suspiria" is a film by Luca Guadagnino, who shot "Call Me by Your Name". This “Suspiria” is a remake of the cult horror of Italian director Dario Argento in 1977. Dakota Johnson played the main role in it, and vocalist Radiohead Thom York wrote the soundtrack. In my opinion from the original in the film, Guadagnino there was only the plot - but this does not make it less exciting, whole and frightening.

What for? This question was central to the premiere of the long-awaited “Suspiria” - the new film by Luca Guadagnino, the Italian cosmopolitan, whose previous films “A Bigger Splash” and especially “Call Me by Your Name” made him one of the main stars of modern European cinema. After all, shooting "Suspiria" is a serious substitute. For some, this remake of the Italian cult horror of the Italian Dario Argento is notorious blasphemy, an attempt to repeat the unique and surpass the unsurpassed. Even the blessing and producer participation of Argento himself does not change the attitude towards Guadagnino as a blasphemer. For others, whom the “low” genres do not lead, is an inexplicable lowering of the bar, a transition after the elegiac epos about the loss of innocence to the thrash aesthetics of a horror film.

For the very same Guadagnino, insensitive to the arguments of reason (noble quality for the artist), this is a dream project, which he began to think long before he chose a profession. By his own admission, as a teenager, he imagined the title “Suspiria. The film “Luca Guadagnino” - and now the dream has come true. What other “why” do you need? The desire to make this picture was how strong, so irrational. Like almost all the aspirations of the characters "Suspiria". Perhaps that is why a remake based on someone else’s plot was perhaps the most personal and experimental experience in Guadagnino’s career.

By the way, the longtime associate of the director, and here played a key role - Madame Blanc's choreographer, Tilda Swinton, instead of the word "remake" suggests using the term "cover version". The re-singing of the original melody came out almost unrecognizable, despite a thorough (for the time being) following the plot.

Initially, the new "Suspiria" baffles. In the picture Argento was conditional and sketchy plot: a foreign girl enters the dance academy in Freiburg, after which she finds out that the institution serves as a cover for the witch community. The virtues of the classic horror were not intrigue, acting or dialogue, but in a unique style, colorful and aggressive, expressive beyond any expectations and shocking with this kitsch expressiveness so far.

Guadagnino struck out Argento's aesthetics from his film. His ribbon is gloomy, dreamily unhurried, built on half tones. However, the plot he retained, deepened and rethought. "Suspiria" Argento unfolded out of time, in a defiantly conditional space. In Guadagnino, time and space are indicated specifically, right down to exact dates. It is about 1976-77 (the time of the release of the original "Suspiria") and divided by the Wall of Berlin, where everyone is talking about the capture of the plane by terrorists from the Red Army faction. The uncomfortable, reserved-paranoid atmosphere of the film intrigues and recruits the viewer of a new generation, in sharp contrast to the somewhat hysterical mood of the original source.

"Suspiria" is not a social pamphlet or psychological drama. This is a fascinating, solid, frightening and delightfully thorough thriller. Inside there is even a semblance of detective intrigue. The only man in the story, an elderly Jungian psychotherapist with a beautiful surname Klemperer (listed as Lutz Ebersdorf, but rumor has it that Tilda Swinton, made up beyond recognition, played this role), from the very beginning was doomed to collapse in his investigation. His attempts to find the missing patient, a dancer of a famous contemporary dance troupe, cannot be crowned with success: he believes that her revelations about the conclave of witches, mysterious immortal Mothers are crazy nonsense, and treats them as a set of characters. The old man will receive in full for his faith in common sense. He will be reminded that there are sinners behind him who cannot be explained by logic.

However, the female world, organized around the hostel and the rehearsal hall of the dance company, is so diverse and rich that it draws on the whole universe. In the center is an American Susie, who escaped from her native Mennonite community and dreams of sensual emancipation in the dance (there are no other forms of sex in the film, but they are not needed): she is simultaneously played by the cold and claiming to be the new sex symbol franchise star “Fifty Shades of Gray "Dakota Johnson, with whom Guadagnino has already worked on A Bigger Splash. Thanks to her, the main language of the film is English. Next to her is a symbolic mother and mentor, Madame Blanc, played by the invariably gorgeous Tilda Swinton. Actress Fassbinder Ingrid Caven and actress Schlöndorff Angela Winkler are responsible for the German flavor of the 1970s, Sylvie Testud for the French: in the picture, by the way, German and French are also spoken. Dutch Renée Soutendijk recalls Verhoeven's early films, erotic and violent. In an elegant episode, Jessica Harper appears, renowned for her leading role in the original “Suspiria”. For the younger generation, besides Johnson, the familiar to macabre roles Chloë Grace Moretz and the famous Mia Goth from the movie “Nymphomaniac” are playing.