Thom Yorke: Suspiria OST (XL Recordings)
Borrowed from the library
Suspiria, the Dario Argento original, is one of my favorite horror films. Perhaps my favorite. Its soundtrack, played by Goblin, is also one of my favorites.
It was with both interest and trepidation that I went to see Luca Guadagnino's "remake" on theatrical release. I used quotation marks because I don't think it's a remake at all. Oh, it's set in a dance school in Germany, there's a character named Susie Bannion, there's a coven of witches. That's about all in common between the two. Identical setting, divergent results.
I've since streamed the film a second time at home. While I find many things interesting about it, I still haven't decided if I think it's a good film.
One local reviewer declared it one of his favorite films of the year. (My thought, it's not even my favorite film with that title.) A friend told me he didn't like horror films at all, but he absolutely loved this film and considered it a masterpiece.
There's no accounting for taste, is there? That's a positive thing to say about all the music, books, artworks, dance, theater, films in the world: we don't have to agree on what we like and any considered opinion is viable. Most people seemed to enjoy and admire Spike Jonze's Adaptation, a film that thoroughly annoyed me. Alternately, I am often entertained by low-tech, "poorly" made trash.
The director Joe Dante made the point on one of his podcasts that there's a category of film, dubbed by Michael Weldon, as "psychotronic." Part of its meaning is that there are films that defy conventional standards of quality and still remain entertaining. I'm not going to defend Plan 9 From Outer Space as a great film, but it nonetheless is fun to watch. It's clear on viewing that Ed Wood put everything he could into making it happen. I'll take that over something pompous and boring any day.
Suspiria (1977) v. Suspiria (2018). The first and most obvious thing is the tonal shift. 1977 is passionately bright and loud. I've read it was the final film made in Europe using the Technicolor process, before all the remaining equipment was sold off to...I think it was to someone in Japan. Technicolor was an expensive process but resulted in rich-hued colors. If you watch old MGM musicals and the volume seems to be punched up on the colors, Technicolor is the reason.
2018 is almost entirely drained of color. Everything is grey, grey, brown, grey. 1977 seems to be set in current time but is timeless; it's a fairy tale removed from any current events. An interesting twist to 2018 is that it's set in the year 1977, with protests in the streets concerning the Baader-Meinhof group. It's something I admittedly know very little about, but it adds a dimension to the setting of the film.
Similarly (and here's where I comment on the music) the music in 1977 is a loud, prog rock nightmare. Combined with the visuals, it's an experience. Some time last year or two ago, I saw the current version of Goblin play live to a screening of the film. It wasn't deafening, but it was the most appropriately loud soundtrack music I've experienced. I also saw them play live to Argento's Deep Red a few years previously.
Thom Yorke's score, even at its lushest, is creepier and more subdued. The color has been drained from the visuals, and intensity drained from the music. It's good, though two CDs worth of material wasn't necessary from a strictly listening experience. His voice only appears occasionally, and he has one of the most amazing falsetto ranges of any singer I know. I hear the occasional orchestra (certainly a Radiohead touch), lots of digital synths, and a very slightly out of tune piano. I like the latter. Makes it more...real.
I'm enjoying it as it plays, but I don't know that I'll remember much of it later. The second disc is particularly less memorable.
I've written about Radiohead elsewhere on this blog. The topic of Radiohead has come up in class as recently as day before yesterday, when I was lecturing about the history of electronic musical instruments and specifically the Ondes Martenot.
Regarding the two films: I adore Jessica Harper as the lead in 1977. Doe-eyed, with a head that seems too large to be held up by that slender body. 2018, Dakota Johnson? Not convinced. She didn't look like a ballet dancer to me. Too....meaty. She has the muscle to be sure, but not lean enough. Jessica was vulnerable, scared, but remained strong. Dakota? I just don't know. There's a hint (maybe more than a hint?) of lesbian attraction between her and Tilda Swinton. Not a problem, also not necessarily followed through. I just wish there was a different lead. I appreciate that the filmmakers found a cameo for Jessica in the 2018 version.
A story from my past. The Spira family lived near to me, one of the only Jewish families I knew. Joel Spira (the father) was the inventor of the Lutron light dimmer, which you see almost everywhere. His small factory was also close to where I lived in Central Valley, PA. His oldest daughter was named Susan. As in, Sue Spira? Suspiria? This movie came out when we were both in high school. She never heard the end of it.
When the high school put on plays or musicals, you could buy a one-line message in the program. For one production, someone bought a single word: "Suspiria." Reportedly, Joel was incensed, and complained loudly to the administration. (He also happened to be one of the richest men in the district.) From that point on, you could no longer buy those single-line messages in school programs. I can confirm that the messages were eliminated from future programs as long as I was a student there.
Sue? If you're out there? (She goes by her married name now.) I wish I had your name. Sue Spira/Suspiria. I'd proudly announce it.
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