giallo film gone grade-Z psychedelic. The story is so threadbare it would have been sent back for a rewrite by Roger Corman, yet that’s part of the film’s aesthetic, because it allows “Suspiria” to be a movie that’s all style, all psychotic-Italian-horror-movie frosting: the sets that still dazzle with their Satan-gone-Liberace decor, the 14-note evil-music-box theme by Goblin that can play in your head for decades.
Jessica Harper is the American ballet student who transfers to a German dance academy that turns out to be a front for a coven of witches.
In its lurid way, the matriarchal premise was decades ahead of its time. Guillermo del Toro’s dark supernatural fable about a young boy meeting a ghost at an orphanage at the end of the Spanish Civil War is a prime example of the director’s love of fantasy as a form of escape.
Directing in a time of personal turbulence, del Toro paints life at the orphanage as both futile and distressing, represented by the large, undetonated bomb that has half penetrated the ground in the middle of the courtyard.
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