Through the Viewfinderthoughts of a photographer

….an amalgam of lighting, music and sound effects create a visual symphony of terror!

Born in Rome, Italy on September 7, 1940, director Dario Argento grew up in a close knit household where family members told folk tales by Hans Christian Andersen, Edgar Allan Poe and the Brothers Grimm. Elements of these frightening bedtime stories would later become fodder for his horror films.

With SUSPIRIA (1977), Argento reaches the acme of his creative works. Combining his stylized use of color, innovative sounds and rapid cutting, SUSPIRIA would go on to become one of the touchstone horror films of the 1970’s. Emphasizing mood, lighting and color, Argento is able to create a nightmarish world filled with angst and duplicitous characters.

As the film opens, American teen Suzy Bannion (Jessica Harper) is arriving in Germany to join a ballet academy. It’s here that we’re treated to a host of Argento’s techniques. Suzy arrives at the boarding school late at night, amidst a driving rain storm. Vivid blue lighting emphasizes the rain drenched, deserted streets around the ballet school while the frenetic music of Goblin punctuates the soundtrack.

Greeted by the dour school headmistress, Suzy is told “…we don’t teach you to dance here…we presume our students know how to do that!”.  Of course it’s not long before, one by one, strange, grisly murders start occurring. Argento punctuates his well crafted, yet repellant, murder scenes with bright poster colored lighting and the heart pounding percussion music of Goblin.

One of the most chilling murders involves a character, who, while running from The Killer, stumbles into a room filled with coils and coils of sharp razor wire (the type they run around prison walls). The visual experience is so captivating (and disturbing) that we have little time to consider why someone would store miles of razor wire in a room at a ballet academy. Rather, we just bask in the terror of this contrived situation, empathizing with the character, who is trapped like a fly in a spider’s web.

Another gripping sequence involves a blind man and his Seeing Eye dog, alone at night in a deserted city center square. His dog barks at something (or someone) unseen, while all around him stark shadows give  sinister life to the walls of the buildings. Wonderful cutting and relentless music combine with haunting “sighs” and “whispers” to make this a compelling scene.

SUSPIRIA earned an R rating when it was released in the U.S. in 1977, and there’s lots of grisly violence, including the use of sharp knives, broken glass and other items that will make your skin crawl. Argento directs these scenes with flair, as an artist paints his canvas. The colors, the framing and the music lift this film from its roots as a mundane horror film into the realm of something much more special.

Throughout SUSPIRIA, the action and mood is supported by the frenetic and haunting music of Goblin, an Italian progressive rock band best known for their work on many Argento soundtracks. Creepy “sighs”, “whispers” and other unsettling sounds permeate the soundtrack adding to the feeling of uneasiness.

The set design on SUSPIRIA compliments the mood of the film. Many scenes are decorated with vivid, velvety red walls and flowing sanguine drapes. Filmed in widescreen, you’ll want to view SUSPIRIA in DVD letterbox format. Directors usually have trouble composing for the wide 1:2.35 ratio, but Argento handless it flawlessly. Slow camera movements down long, bright red, narrow hallways, add to the unusual claustrophobic feeling that this widescreen film is able to achieve. Characters are carefully framed, benefitting their onscreen movements. Arms gracefully stretch the width of the screen, and action is well contained during the murder scenes. Of special note is the swimming pool sequence, which reminds us of a similar scene in Lewton’s CAT PEOPLE (1942). The camera floats in front of the two girls, carefully following them as they swim around the darkly lit indoor pool. The camera movements alone would make for a very scary sequence, but the amalgam of lighting, music and sound effects create a visual symphony of terror.

At the end of the film, we’re never really sure if the events really happened, or if they were part of Suzy Bannion’s dreams. It’s a moot point because this movie succeeds not as a story, but as a series of vivid, well crafted images….images that you’ll revisit in your nightmares! A modernistic classic, SUSPIRIA is available on DVD and should be viewed by all aficionados of the horror-gore genre.
Highly recommended.

Director: Dario Argento

Country: Italy (available dubbed in English, or Italian language with subtitles)

Cast:
Jessica Harper … Suzy Bannion
Stefania Casini … Sara
Flavio Bucci … Daniel
Miguel Bosé … Mark

“I’m not right, am I?”  – Russell Clank

Resurrected from a 1973 George Romero film of the same name, “The Crazies” attempts to bring zombies and biological warfare together in one film.

Opening with images of flames and a burning town, the film fades out to “two days earlier”. It’s the sleepy town of Ogden Marsh, a rural Midwestern town where people enjoy life at their own pace, kids play baseball and folks call the town sheriff by his first name.

But strange things are happening in Ogden Marsh. At a baseball game, the town drunk wanders listlessly onto the ball field brandishing a rifle. Meanwhile, the town doctor is getting an alarming number of patients who exhibit schizophrenic symptoms. These elements should combine to make the essence of a strong sci-fi horror film the likes of “Invasion of the Body Snatchers” (1956), but instead the film takes a wrong turn.

It’s no secret to say that the townspeople are mysteriously dying and returning as zombies. Zombies, incidentally, are a time-tested-and-true plot device, allowing for lots of muffed gory attempts at killing them before you get it just right. Unfortunately, there’s just not enough “colorful” zombie deaths in this film to satisfy even the most desperate of zombie fans. To be sure there’s gratuitous violence, but not the cinematically choreographed carnage of the type Tom Savini gave us in 1978’s “Dawn of the Dead”

But more than a zombie film, “The Crazies” is a film about government interference and incompetence handling a chemical bio-agent catastrophe, which brings to mind “The Blob” (1988). The government rushes in, gas masks & hazmat suits in hand, rounding up the “usual suspects”, which in this case turns out to be the unsuspecting inhabitants of Ogden Marsh.

There’s a few moments that come close to what the whole film could have been. The discovery of a submerged plane, much like the discovery of the saucer under the ice in “The Thing” (1954), is a plot point that could have been savored for its mystery. Yet the whole subject is dismissed very quickly. Not enough blood, I’m guessing. And the unattended combine, running at night inside the barn gave the promise of something creepy and surreal, but the promise is never fulfilled.

“The Crazies” dips into the well of over used clichés one time too many: the sudden hand on the shoulder; the person about to be killed, saved at the last moment by a friend; an eye suddenly peering back at you through a keyhole; and of course, the much anticipated business with the pitchfork (shown in the movie poster). It’s all grizzle and gore, with surprises that will no doubt please the teenaged date crowd, but cinematically this film is a disappointment. “The Crazies” is a formula film that gets it’s ingredients all wrong.

Cast & Crew:

Director:  Breck Eisner

Timothy Olyphant  … David Dutton

Radha Mitchell  …  Judy Dutton

Joe Anderson …  Russell Clank

Danielle Panabaker … Becca Darling

Running Time: 101 min       Rated “R” for bloody violence & language