Read the full article on Firstpost, here: https://www.firstpost.com/entertainment/flashback-to-dario-argentos-suspiria-as-the-remake-readies-for-venice-film-festival-2018-premiere-4928601.html
With the dawn of the millennium, Village Voice – the famous New York-based newspaper, and America’s first alternative newsweekly – felt it was time to come to a consensus on the 100 best films of the 20th century. Distinguished film critics were invited to participate in a poll, and the results were published in the January 4, 2000 edition. At Number 1 was, unsurprisingly, Citizen Kane, and the list continued along expected lines. Renoir. Hitchcock. Ford. Dziga Vertov. Murnau. Jean Vigo. Dreyer. Bresson. Kurosawa. Kubrick. Coppola. Ray’s Pather Panchali came in at Number 13. In short, the films already celebrated as classics were the films that were found here – until you came to Number 100. That place went to Dario Argento’s Suspiria (1977), whose kinda-sorta remake, by Luca Guadagnino, will premiere at the Venice Film Festival this year.
Why is the inclusion of Suspiria, in this list, a surprise? Because it’s hardly a “classic” in the generally understood sense – it’s more of a cult film, a guilty pleasure. Look at the tone of even the positive reviews. Mike D’Angelo (Letterboxd) wrote: “In which Argento wisely minimizes the expository ‘dramatic’ stuff at which he stinks and prioritizes the gaudy delirium at which he excels.” Ed Gonzalez (Slant) wrote: “It may be Argento’s silliest work, but while its plot is scarcely sensible, the film rightfully earns its notoriety via Argento’s fabulous and detailed engagement and reworking of fairy-tale motifs.” Scott Tobias (The A.V. Club) wrote: “With sights and sounds that aim for sensory overload, Suspiria converts vulgarity and excess into high art, escalating to a fever pitch on former Antonioni cinematographer Luciano Tovoli’s eye-popping images and Goblin’s assaultive score.”
Continued at the link above.
Copyright ©2018 Firstpost.
Baradwaj Rangan 
ramitbajaj01
August 9, 2018
Is the link working?
LikeLike
brangan
August 9, 2018
ramitbajaj01: Sorry. Something’s weird in the formatting — so I copy-pasted the link below the earlier one.
LikeLike
ramitbajaj01
August 10, 2018
Thanks, it’s working now.
I don’t watch horror. (darr lagta hai.) But I am not sure if I would be able to resist Luca’s film. Even the trailer has strong directorial signatures.
[Richard Brody wrote about CMBYN]
https://www.google.co.in/amp/s/www.newyorker.com/culture/richard-brody/the-empty-sanitized-intimacy-of-call-me-by-your-name/amp
“[Luca’s] actors are more or less in a constant proscenium of a frame that displays their action without offering a point of view.”
I wonder how much importance does the inclusion of both objective and subjective PoVs have in film appreciation. How much as in- is it style dependent or every narrative style has the scope to include this aspect? For instance, I wonder if Luca can be held accountable for not offering a PoV. (while watching the movie, I didn’t find anything lacking).
LikeLike
lakshmi
August 13, 2018
Didn’t know I’d find a piece about a horror film so interesting. I like how you introduced the film, as if you were telling us a story beginning “Long long ago, there lived…”. Also, the alternating it’s and its in the 2nd to last para made me want to read it aloud. 🙂
LikeLike
vv
September 24, 2018
I would have to disagree that this film is a guilty pleasure. This film is a mood driven masterpiece that is unfairly trashed by critics because it is a genre film. Right from the opening shot of Suzy arriving in Berlin at the airport to the closing scenes of the film were the true identity of the witches is revealed, this film revels in film making. In my estimation nobody can match Dario Argento in terms of his camerawork, lighting and production design.
Also Suspiria is not a giallo film in the strictest sense. His other masterpiece Deep Red would be considered a giallo. Giallos are basically pulpy, violent Italian murder mystery horror films that atke place mostly in an urban environment and have a whodunit aspect(although the plots are very bizarre involving Freudian psychology and leitmotifs). They were extremely popular in the 70s with directors like Argento,Mario Bava, Lucio Fulci and Sergio Martino cranking one after the other to mostly good results. Most giallos do not have any supernatural elements in them. Some other giallos that I would recommend are-
Bird With The Crystal Plumage (Argento’s first foray in the genre)
Lizard In A woman’s Skin (made by another favorite director of mine Lucio Fulci)
Don’t Torture A Duckling (another Fulci offering but set in a rural environment)
Blade Of The Ripper (a Hitchcockian murder mystery)
The House With Laughing Windows (hands down the most shocking ending to a film)
Films like Suspiria, The Beyond, House By The Cemetery are not giallo films but supernatural horror films. The plots are absurd but that is part of the design. The acting is not the best either and there is a lot of horrendous dubbing but these films create such an amazing atmosphere and have such amazing set pieces, that all it’s flaws in other departments is forgiven.
LikeLike