A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
Suzy Bannion travels to Germany to perfect her ballet skills. She arrives at the Tanz dance academy in the pouring rain and is refused admission after another woman is seen fleeing the school. She returns the next morning and this time is let in. She learns that the young woman she saw fleeing the previous evening, Pat Hingle, has been found dead. Strange things soon begin to occur. Suzy becomes ill and is put on a special diet; the school becomes infested with maggots; odd sounds abound; and Daniel, the pianist, is killed by his own dog. A bit of research indicates that the ballet school was once a witches' coven - and as Suzy learns, still is.Written by
After completing the specialized color work on this production, Technicolor Rome reportedly dismantled their remaining three-strip equipment. See more »
When we see the killer's hands, they are shown to have huge, long black fingernails. In a following scene where the victim is stabbed, the fingernails are now normal. See more »
Suzy Banyon decided to perfect her ballet studies in the most famous school of dance in Europe. She chose the celebrated academy of Freiburg. One day, at nine in the morning, she left Kennedy airport, New York, and arrived in Germany at 10:40 p.m. local time...
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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.
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