Suspiria (1977) 7.4
A newcomer to a fancy ballet academy gradually comes to realize that the staff of the school are actually a coven of witches bent on chaos and destruction. Director:Dario Argento |
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Suspiria (1977) 7.4
A newcomer to a fancy ballet academy gradually comes to realize that the staff of the school are actually a coven of witches bent on chaos and destruction. Director:Dario Argento |
|
| 0Share... |
| Cast overview, first billed only: | |||
| Jessica Harper | ... | ||
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Stefania Casini | ... | |
| Flavio Bucci | ... |
Daniel
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Miguel Bosé | ... |
Mark
(as Miguel Bosè)
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| Barbara Magnolfi | ... | ||
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Susanna Javicoli | ... |
Sonia
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Eva Axén | ... |
Pat Hingle
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Rudolf Schündler | ... |
Prof. Milius
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| Udo Kier | ... | ||
| Alida Valli | ... | ||
| Joan Bennett | ... |
Madame Blanc
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Margherita Horowitz | ... |
Teacher
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Jacopo Mariani | ... | |
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Fulvio Mingozzi | ... |
Taxi Driver
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Franca Scagnetti | ... |
Cook
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A young American dancer travels to Europe to join a famous ballet school. As she arrives, the camera turns to another young woman, who appears to be fleeing from the school. She returns to her apartment where she is gruesomely murdered by a hideous creature. Meanwhile, the young American is trying to settle in at the ballet school, but hears strange noises and is troubled by bizarre occurrences. She eventually discovers that the school is merely a front for a much more sinister organization. Written by Goth <brooks@odie.ee.wits.ac.za>
I've seen hundreds of horror films (including all of Argento's work), and *Suspiria* is my unequivocal favorite. It is not a perfect film, but it comes closer than any other film in the genre. Everything until the last few minutes is masterfully orchestrated, combining skillful direction with chilling cinematography, not to mention a score that ties my stomach into knots every time I hear so much as a snip of its odd techno-funk beat. Unfortunately, the voice of the witch at the end turns masterful horror into overriding cheese, making the tagline ring all too true: there is *nothing* more terrifying on film than the first ninety minutes, but the last few fall somewhat short of genius.
That fact notwithstanding, *Suspiria* is a fine example of how horror movies should be made, and I sincerely hope that any director or screenwriter contemplating a horror film first sits down to watch this one so they can be reminded that the horror genre properly contains a good deal more than the simple-minded slasher flick that has become all-too-typical in American theaters. After all, no less a filmmaker than Wes Craven seems to have followed this advice, and it allowed him to move from such pitiful efforts as *A Nightmare on Elm Street* to *Scream*, the first (and thus far only) classic horror film of the 90's.