October 8, 2021 • 49 mins
In this very special double feature episode, we compare and contrast the two versions of the film Suspiria, and talk colors, dance, witches, motherhood, corruption, death and final girls. We also ask the question is Tilda Swinton everyone?! Mother of sighs!
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Episode Transcript
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Speaker 1 (00:05):
Hey, this is Annie and Samantha and welcome to Stephan.
I've never told your protection of I Heart Radio. So today,
in our continuing just really running head first into Halloween
(00:25):
and spooky times, we are going to be doing a
double feature of Suspiria, the old one and the new one,
which has been fun because neither of us had seen
the old one before when we had decided to do
this true story, but we both watched it. Now. That
being said, a trigger warning on this. I don't think
(00:46):
we're gonna get too intensely into anything, but there is
some kind of gruesomeness because we are talking about horror movies.
It's really we're not going to go into depth, but
you know, just to put that out there. And I
think we've already mentioned it, but we're probably going to
do multiple movies this month. Episode movies, episode movies, movies, episodes,
(01:08):
you know what I mean, because they're just so many.
We both have horror movies. There's so many to go over.
I think a lot of them have really interesting themes
when it comes to women and kind of all these
anxieties we have around that. And I really want to
talk about Black Swan. So it's odd to me that
we're sort of doing those women in horror and dance theme,
(01:33):
but you know that's just not just what's happening, right.
I've never seen Black Swans, so this will be an
interesting take from me as well. Those types of movies
are a little more trippy because it's not seen as
horror as a thriller suspense, I guess, like the logical thrillers,
and typically those are like whatever. So it'll be interesting
(01:54):
because I've always seen one Aeronofski film and a Belitas Mother.
That one was twisted as hell. Yes, we will talk
about butter in the Black Swan one because that there's
a similar theme in Black Swan of like a male
artistic director who is getting like a woman is his
(02:16):
muse and the woman is kind of like suffering for
the art, which we've talked about before. But yes, yes,
I will say Black Swan is not as trippy and
as step as a Mother is, Okay, I mean I
just remember being prepped for it in that Jennifer Lawrence
was talking about how it kind of damaged her at
that point in time, and it made me not really
(02:38):
love Aronofsky in general. So I'll it'll be an interesting take.
I think, yes, oh, yes, for sure, but that is
for the future today. Yes, we're talking about Suspiria. Yes
and yeah. So let's jump into this classic version, the
original Suspiria. And there's a lot of feeling about the
(02:59):
fact it has been remade, including from the director. So
but let's go ahead and jump into it. So it's
directed by an Italian filmmaker Dario Argento in nineteen seventies seven,
and this movie has been held as one of the
best horror movies of all time. As in fact, according
to one article, it said that it was in top
twenty of all time from professional film critics, so they
(03:21):
if they had to like test, say which ones were
their top twenty, this made the list. Uh. So we
open up to see a young American Susie Banion played
by Jessica Harper, arriving at the airport in Munich on
a very stormy night, like unusually stormy apparently it is
a part of the plot. After struggling to get a taxi,
literally jumping in front of one to stop it, she
(03:44):
arrives at the prestigious academy in Freiburg, where we see
another student leaving in a panic and Susie then gets
turned away from the studio is told to leave like
the person who's yelling at her the intercommon way leave
essentially so sleeve the studio, and as she does, as
she witnesses the young lady who left in a panic,
(04:04):
who is Pat you'll want to know that name, walking
through the woods in a hurry, in a very scared
state of being, and we cut them to see Pat
arriving at her friend's place after leaving the school, and
she tries to talk about why she ran away, but
it's too scared, cold and wet, so she retreats into
the bathroom. When we proceed to see the first brutal
(04:27):
scene and apparently Argenta is known for this kind of thing.
And of course where I come through, going girl run,
stopped looking at the damn window because I'm like, there's
b eyes run. That's when you run, you know, whatever,
in which both Pat and her friend are killed, so
patistad repeatedly with the final shot of the knife going
(04:48):
directly into her heart, So you see a knife going
into an actual heart. I guess it's movie magic makeup maybe,
and then being hung all falling through a glass ceiling
and then we see her friend die due to the
metal and glass falling on top of her, and by
the way, throughout the scene, she's knocking on all the
(05:09):
doors screaming, help, my friends getting murdered. Nobody stops to help,
by the way, and then we move on to see
Susie who has finally made it inside of the dance
studio Dance Academy, and she's introduced to Madame Blanc who
played by Joan Bennett, which, by the way, this was
her last movie that she'd ever filmed, and she was
(05:30):
also nominated for a Saturn Award for her performance. She
didn't win, but she was nominated and Ms Tanner played
by Alida Valley. Upon her arrival, she learns of Pat's
death and murder, and at this point Susie tries to
recall exactly what Pat is saying as she fled from
the school, but has a hard time remembering what was said.
(05:52):
Apparently this is a style that Argenta has used before
um and likes to use in a lot of his movie,
so the whole like hidden message you can't quite remember
always there. After she'd been told she would be boarding
with another student due to her room not being ready
at the academy. She decides that she would rather stay
with that other student rather than the academy, but uh
(06:14):
got some weird reactions from the teachers, including one saying, oh,
you're strong willed, good yea, and after that another bazaar
encounter with the cook. A lot of foreboding stairs in
this movie. Also definitely there's a lot of tropes in
(06:35):
this probably originated from this, so he definitely created a style. Yes,
some odd staring for voting stairs as she passes by
the cook specifically, and then she gets sick. Weird. I
don't know what's happening. This glittering light made her sick,
and she's told she has to try to dance, and
then she passes out while she's dancing. It's really dramatic,
(06:56):
and then has to be seen by a doctor who
puts her on a very restrictive eye it that includes
ambrosia wine. That's how they say it. So I was
like okay, and it's moved into the dorm against her wishes,
and of course more weird things happen, like maggots falling
out of the ceiling causing them to have to be
moved into the practice hall for the night, and y'all.
(07:16):
That probably was the creepiest scene to me, the maggots
in the hair. So they all have to move into
the practice hall for the night, where her classmate and neighbor,
her dorm neighbor Sarah, tells her of this incident where
she is next to the schooler that director or rooms
next to a school director and she knows this weird
(07:37):
snoring whistling sound and it has to be her and
the school director was supposed to be gone at this time,
but you know, we see this floating image come and
take a bed next to the students, so that was
kind of like a huh, another weird occurrence. Of course,
next day we see a blind pianist who we are
(07:58):
introduced earlier into in the movie, but he comes in
leaves his guide dog at the door, and I was
very scared. I was like, oh no, not a dog.
Not a horror movie. And then we hear noises from
the outside as the nephew of Madame Blanc, who she's
already stated means a lot to her, so we know
he's something walks to the school and immediately see Missed
Tanner yelling at the pianist, accusing his dog of attacking
(08:21):
the child, which leads to him leaving the school with
him yelling he knows what happens at this school, and
then we later witnessed his death as his dog gets
spooped and kills him. Weird moment too. Also, there's a
lot of foreboding stairs from the cops in this one,
of course, we also see Sarah trying to figure out
with Susie what the staff is doing, as they can
(08:43):
hear footsteps down the hallways, only to realize thanks to
Susie that they are not leaving but going somewhere unknown. Um.
At the same time, we see that Susie can't stay
awake and pass it out. Big sign of course, with
Sarah being that nosy uh, bad time's come for her. Yes,
after Susie accidentally outs her after telling Madame Blanc about
(09:05):
what Pat said something about iris and secret Uh, Sarah
tries to tell her what she found, including that she
was meeting up with a friend to talk about some
notes she had about the school. But as she's trying
to tell Susie about everything, Sarah realized that Susie is
completely passed out. She runs in fear and after a
long dramatic moment of being cornered into a room, and
(09:26):
I mean dramatic, y'all. She gets caught up in what
I think is supposed to be barbed wire fence, but
if you look at it closely, it's not. But it's
still like I had the moment of a girl. No
she's trapped um and then gets her throat slashed, very
vivid scene. Next day, Susie discovers Sarah's rooms empty, and
it's told that she left without telling anyone, and Susie,
(09:48):
now suspicious, meets up with Sarah's friend, finds out about
the history of which Is and some of the things
that Sarah has been talking about through a professor that
they both know, so that she has this long conversation
about which is and the fact and the history of
the school is long and dark and all my goodness,
including the fact that he tells her that as long
as the mother which is alive, all of them will
(10:11):
be alive, so that you must kill the queen essentially
to kill off the rest of them. So important information
to know. And by the way, if you haven't seen
this film, I had to tell any that each one
of the actors speak their own language, so you have
four different languages spoken, but because of those types of movies,
they would just dub them according to where they were
(10:33):
going to be seen. So you have an American actors
speaking English while the German actors are speaking German, and
they just dubbed over it. So it's really obvious and
kind of confusing because you're like, but that's English, but
that's not. I had that moment for a couple of times,
and when I read that, I was like, oh, that's smart,
cheapest way to do this. So yes, say, would just
memorize each other's lines so they knew how to react.
(10:55):
So when you see the German professor talking to the
American actress, is very obvious, like huh, just so you know.
So after Susie returns, she gets suspicious of the food
as well, and she dumps all of it and then decides,
after finding a note left by Sarah, to follow the footsteps,
which leads her to Blanc's office, which has a blue
(11:16):
iris that she knows about, uh, and she turns it
opens it up to an eerie hallway, lots of writing,
lots of weird chanting items everywhere. That leads her to
the coven, where the staff are meeting and find out
that not only are they all witches, but they're going
to kill her that night, like they keep saying, kill
the American, Kill the Americans, um. And she tries to
(11:37):
find a way out and instead finds the Corps of
Sarah really interesting thing, and find the director, who turns
out to be Helena Marcos, who is the Queen of
the coven or Mutter Suspiriorum or Mother of Size, who
is part of the Three Witches Um. After Marcos six
zombie Sarah onto her to kill Susie, Susie stabs Marcos
(11:58):
so you can only see the out line of her,
which causes the death of the entire coven and as
she runs to leave the academy, the entire academy burst
into flames, and that's the end, as we see her
crying and we hear screaming in the background. So thin, yep.
And we're going to talk more about the style differences
(12:20):
and compare in contrast these movies, because Samantha and I
came at it from a very interesting angle, I think,
where we both saw the new one first, and so
when I was watching the old one, it was interesting
because I was kind of having the reverse of like, oh,
Marcos and like trying to fit it into what I've
seen in the new one and how that was going
to match up, and most of it really doesn't match it,
(12:45):
which I think, according to a lot of what we
read was probably good for us because we didn't enter
the new one like constantly comparing and sort of being disappointed.
It sounds like, yeah, let's talk about the news Suspiria,
(13:14):
and it was inspired by this, this nineteen version, but
this is eighteen supernatural horror film directed by Luca guadno
and written by David Casanis. I hope I'm getting it
somewhat in the ballpark, And this movie was a long
time coming. Guad Nino attained the rights from the original
creators in two thousand eight, so it's ten years. The
(13:36):
plot follows an American woman, Susie Bannon, played by Dakota Johnson,
who enrolls in a dancing school in Berlin that is
run by coven of witches. It also stars Tilda Swinton,
who plays both the female lead choreographer and the male
psychotherapist associated with the company, which, by the way, I
saw this at a local theater, the Plaza. I believe
(13:58):
there were several drinks in before I went. I did
not know that that was to me, So it was
supposed to be hidden. They even made a pseudonym for her, uh,
in order to the identity. So it was purposeful that
you weren't supposed to know. But then there was like,
of course to the deep investigative people like nope, I
gotta know, and then just blasted it. And it wasn't
(14:19):
supposed to be told. It was supposed to keep you
with suspense at that level of like, you're not supposed
to know who this person is. And hopefully the intent
was that she did such a great job and portraying
this role and she does. Although for me when I
first watched it, I was like, uh, that person looks
off was with the mackup, Like I knew it was makeup.
I just didn't know who. I remember looking it up,
(14:41):
but it was. It was supposed to be a whole
like hidden like Jim, but could not handle it, and
so well, that makes me feel better than that wouldn't
be the first time I've seen kind of a cerebral
movie at the plaza with a couple of drinks and
left later like uh, I didn't make since I just
(15:01):
didn't get it and I don't know where the line is.
The original film star Jessica Harper has a cameo in
this as well. It is set up in acts and
starts in nineteen seventy seven when Susie Bannon arrives in
Berlin to audition for the Marcos Dance Academy. In part
escaping her abusive mother, who refers to her as Sin incarnate.
(15:22):
Susie makes friends with another student, well off Sarah, and
at the same time draws the eyes of Adam Blanc
Tilda Swinton Um, the artistic director and choreographer. But wouldn't
you know it, there her arrival happens to be right
as another student named Patricia went missing after she told
a psychotherapist that the academy was run by a coven
of witches who worships the Three Mothers. One of Patricia's friends, Alga,
(15:47):
accuses the academy's patrons of being witches and being the
culprits behind whatever happened to Patricia. Olga tries to make
her escape, but get stuck in a room in the school.
As she has trapped, Susie dances from Adam long and
her movements after Madam Blanc does some kind of weird
there's a lot of weird stairs in this one as well,
(16:07):
where you're like touching, so you're like something happened here,
some transparence happened. So as Susie is dancing, her movements
are somehow inflicting damage on Olga, or that's what the
cuts seemed to imply. Between the scenes, the matrons find
her body and drag her away with hooks covin politics.
(16:28):
There's a lot of coup of politics in here. The
coven holds an informal election um deciding to stick with
Helena Marcos as their leader. She's been the leader for
a very long time, and they choose her over Block
even while planning to use Susie as a host body
for Marcos. Bit later, another matron kills herself, so a
(16:49):
lot of unrest apparently going on, a lot of taking
of sides. There was a whole thing with the because
I was really confused. I was trying to figure this
out because the entire time way always see the dancing
of Susie and then the Alga being pretty much broken
into pieces. The baitment is in horror like she you
see her face as if she knows what's happening, but
(17:10):
then we also see her unrest. We don't know what's
happening with her internally, and why maybe she just finally
had enough doesn't ever explain. I don't think it ever explains.
And my interpretation of it was because I feel like
a part of this whole movie. The thing is that
this coven became corrupt and really lost sight of their
(17:33):
whole thing, and they get punished at the end for it,
which we'll talk about. And I felt like she was
because she never says anything, even if I'm remembering quickly,
She's just kind of always in this state of like
watching in horror, and so I feel like maybe she
just had this moment of like, yeah, opening her eyes
and thinking, what have we done? What if we become?
(17:54):
But I don't think it ever really explains it. I
could be wrong, though, because again I've missed a lot
of things the first time I watched it, and I
did rewatch it for this but still there's a lot
going on in this movie, and that's probably one of
the biggest critiques of it is that it never really
seems to decide what it wants to be. There's just
so much happening, right, okay, but anyway, as blocksmant, Susie
(18:18):
lands the starring role in Vulk. The psychotherapist, suspicious of
the goings on at the academy, requests that Sarah help
him secure Patress's journal so he can learn more about
the events leading up to her disappearance. Sarah eventually disagrees,
but in her search accidentally uncovers the inner sanctum of
the academy that the coveny uses for their rituals. She
recovers one of the hooks and takes it to the psychotherapist.
(18:42):
Sarah later returns to the sanctum on the opening night
of Vulk and finds Patricia shriveled and unwell. The matrons
find Sarah and Condra hole in the floor that Sarah
falls through, breaking her leg. She manifests in the middle
of the performance of Volk, dancing her part in some
sort of trance, but her and Susie's eyes seemed to
change color while they're dancing, and Sarah collapses once her
(19:06):
performances over. Afterwards, the company is eating to celebrate opening night,
but the matrons but all the students except Susie in
a similar trance. The psychotherapist gets rid of the evidence
all around Patricia and goes home to each journey, only
to find his long lost wife who went missing after
the war. However, after talking for a bit, she disappears
in the psychotherapist realizes he has been led back to
(19:27):
the academy, where the Matrons are waiting for him. They
take him to their sanctum where they lure Susie and
do you see a disemboweled Patricia, Olga and Sarah and
they start their ritual um. We also see Helena Marcos
and she doesn't look good. Everybody look good. It's like
a kind of like the Mermaid from Cabin in the Woods,
(19:51):
just a bloated fish shop thing. Yeah yeah, yeah, okay.
So Blanc attempts to intervene when it seems that Susie
is ready to accept her fate as Marcus's host, but
then reveals Susie then reveals herself to be Mother's Suspirium,
one of the three witches that once from the Earth
that the coven worships. She summons an incantation of death
(20:14):
to kill corrupt Marcos and her followers in order to
cleanse the academy, So everybody who voted for Marcos, that's
the end um. They blow up. Yeah, just a spray
of very bright red blood and a very red lit scene.
Susie Slash Suspirium leads Patricia, Olga and Sarah into their
(20:38):
desks as peacefully as possible. It's something that when she
asked what you want, what they say they want while
the students and matrons left alive dance in the background.
The psychotherapist is released and Susie Slash Suspirium later apologizes
to him, telling him how his wife actually died. She
then erases his memories, causing a seizure. And that's yeah,
(21:05):
very interesting. Well we come back to see coming back
to life. Yeah, kind of it's like if they held
her her neck in place, she was alive, but I
don't know if like she breathed a sigh content and
then the other witch who was helping Marcos is like
(21:26):
she feels she feels it. So you see this like
despair within the school because they announced Blank had left,
but then is actually alive and you're like what. And
then you see them cleaning the like all of the
blood and such below and she's actually alive. So it's
kind of like, what's happening. What's happening? Right, So there's
(21:49):
this like kind of uneven ending. I think, you know how,
I feel like this is how most horror movies go
in order to like open up just in case it
goes really well to come in. But I guess it
didn't go very well. I don't know this later in
the makings, who knows. Who knows. It took ten years
after he bought the right, so maybe maybe not. It's true. Yeah,
(22:12):
there's a lot to be said about both movies, and yeah,
obviously both movies are very very different except for common
thing throughout, and as Argento stated, when he was talking
about the new remake coming, he wasn't too pleased. He
essentially said, either you're gonna do exactly what was there,
(22:33):
If you're remaking it and doing exactly what I did,
so what's the point did you do that? Or you're
going to do something completely different? And then how is
this suspiria? So he made that statement in regards to
the remake. I didn't see any reports after it was done.
I don't know if you watched it or what, so
if anybody wants to let me know because I didn't
see an after reaction of the film, because obviously it
(22:56):
is very different, so we wanted to do a quick comparison.
Is the same name and similar in themes, so again
we have common characters coming in. We have the American
coming to a school in Germany, except the location has
changed a little bit. There's more politics in the second
one than the first one, obviously definitely different in its
(23:17):
intent and presentation, including the fact that the first one
is a part of a trilogy, which is a part
of what was written I believe by Thomas D. Quincy,
who did I believe the concept of the Three Mothers.
So the three witches in this one again originally part
of the trilogy three three Mothers. This is what the
(23:39):
fandom sizes us. This piece asserts that just as there
are three faiths and three graces, there are three sorrows
Matter Lackrimm, our Lady of Tears, Matters, Suspirium, our lady
of size and matter, Tenant bad Room, our Lady of darkness.
So her AGENTO did three movies, including Suspiria, which is
(23:59):
what we Inferno and The Mother of Tears. Um I
have not seen the other two, have you Nope, I
have not. Okay, So there is an intent behind the entirety,
and we do talk about that in the first one.
Does it talk about in the second one? It does. Yeah,
they talked about the three mothers in there, but I
think it's very like brief passing. And then obviously this
(24:24):
one is too. I think it's very brief. Is the
German professor explaining what's happening, and the queen and mother,
but Marcos is the center. And that's kind of the
difference is that Marcos is already seen as matters Suspirium
in the first one, and obviously she's not in the
second one. She's just a person, yes, right, She's like
(24:46):
the corrupt person who's lost their way and believes are
uses a name like Suspirium to do what they want
to do and to have power and power over others,
but really has lost the original intent and it is
kind of like blasphemously using this name. She was not happy.
(25:07):
She was not happy. She was she was kind of
an anti hero in that she was trying to put
back what was wrong, as in like some of the
things like including the fact that she took that memory
from the psychoanalysis the doctor because she was like, we
did not mean I regret what my daughters have done
to you, was what she says to him. And I'm like, huh,
(25:30):
that's an interesting justice level of takes. Yeah. I mean,
I think the movie is the new one. The remake
is really uneven, but there are parts I really like
of it. And I do really like the kind of
primal modern dancing that feels really like it's very yeah, visceral,
(25:53):
and it feels just very kind of yeah, primal. And
so in the end when it reveals her, there's kind
of like this level of you know, this is when
these witches what this earth? It was a much more
like primal violent time where her sense of balance seems
(26:16):
to be I'm killing you because you've been using the
right for these things. It is really interesting because that
the new one is almost all women, right, right, right?
I agree. So there's a couple of things I wanted
to talk about between the two movies on that, but
you just brought up, including dance. And I think it's
(26:38):
very obvious that in the first one it's just a
plot point. You just have somewhere to go. This is
set up here we go. In the second one, it
actually becomes a character. It becomes a part of the
actual movie as it is a character in itself, because
they use dance as a form of casting spells. And
I found that very necessary because at the end with
(26:59):
the whole ritual where you see them do that, but
when she does the whole actual performance in front of
the audience, so that is also invoking the spirit and
bringing a whole thing, including again Dakota Johnson's and ursuits,
these character dancing alone and feeling all of that and
talking about how it's gonna make our sick and just
overall exhaustion. But it actually broke a person's body, like
(27:20):
that's what it did to her with like every pool,
every tug, like the vast differences caused enough critics to
be like, Okay, we didn't love the second movie, but
we love the dance portion in this movie. And I
thought it was beautiful because also she is the mother
of size, and throughout the movie there's no music tied
(27:41):
into the dance. It's all heavy breathing and it sounds
like yeah within the movie, and I found that very
like telling as a person who loves modern dance, So
obviously you have a ballet studio versus modern dance studio,
and then it's very different in form, graceful and beautiful
in both, but this interpreted level of this instead of
(28:03):
just performance in this other way of using it in
the movie where you see her literally fleeting through one
thirty second part to the film as versus whole scenes
beautifully choreographed dancing that is very vastly different, and how
he's focusing the art and the color of the dance.
(28:24):
Did you think that, Yeah? Yeah, And I think it
was it was so almost violent of a style of dancing,
and I liked, like the silence was unnerving and it
just felt so like kind of jerky but powerful, and
those discussions around like physical limitations and having to push
(28:45):
yourself and jump higher and higher up the floor and
then having that juxtaposed against like a broken body from
from this style of dancing. And again, like there's so
many things in this movie where I'm like, am I
reading into this too much? But it's like, you know
that kind of physicality of dancing and how it does
often leave people broken or hurt or injured and have
(29:08):
these things and that for this art there is a
danger behind it, even though I think a lot of
people see it as sort of frivolous, and I like
that that jectiposition as well. Of like dancing women is
seen as often like kind of a quote freely thing,
pretty thing, but this was very much like the opposite
of that. It felt like dangerous and violent and intense.
(29:30):
And then they talked about that Susie actually broke the
spell because she kind of just alternated from the routine,
which is what made Sarah collapse because she wasn't doing
the actual full dance. And they have a whole conversation
in her dream, which we need to talk about the
dreams later on, but in her dream having a talk
(29:50):
with Blanc about the fact that she broke the spell
and she knew it, but she couldn't stop what she
was doing even though it was going against the choreography,
so it broke the trance essentially what she's talking about.
But of course that is a big again character point
in that movie as versus the old movie. That was
not a focus. They did not care about the dance,
(30:11):
and that's fine because it was literally made as a
plot point. Move on, here's a scenery. We're setting this up.
Although we do see one class in the pianist, so
we see that in the original. But speaking of the pianist,
as you talked about, so the in the first movie,
there are men in there. So you see the young
man who is helping her move into the place, and
(30:31):
he apparently is the go boy for Madame Blanc is
how they say. Essentially, he doesn't have enough money to
pay for dorm, so what he does is servitude to
Madame Blanc in order to stay. And then you see
the pianist, who obviously makes enemies of them, and it's
just there. Then you have the large guy with new teeth.
I guess he's like the butler character and is quiet
(30:53):
and is just there. And then you have the young
man and the doctor and then the outside two outside
characters that are friends with Sarah. But if you look
at the way they use men in this, they're all subjugated.
They are all servants and or in uh, some type
of labor intensive to the women there. And they do
(31:14):
the dirty word because in the first scene you see
the hairy arm, not that women can't have hairy arms,
but I think it's intent to be like, this is
a man carrying this out and when we see the
scene with Susie finding that someone is trying to come
get her is the dude with the teeth who never speak.
So the very limited amount of things that are there,
but they still have the men there in that scene,
(31:37):
which I think is a striking contrast to the second
one where even the one main male character is not
actually a man, right right, right right, And there's that
whole seeing where the male police officers come and then
one of them is putting in a trance and Susie
sees them like with the govin like taunting him with
(31:58):
the hook around his petas it is like, oh my god,
what am I watching? I was not expecting this, But yeah,
I just I find that so interesting because I've one
of the main messages I keep coming back to that
movie to me is corruption and I like having this
you know, organization that is all women, but they are
(32:20):
you know, abusing their power. They are after youth and
kind of like taking these younger bodies of women, and
there's just kind of these power dynamics and structures and
in both of these, you know, even the men, the
men play like the lesser role that I think a
lot of times we get or like some people get
(32:42):
mad about when they're like, men have no roles, Like
that's what women have been doing in horror movies forever.
It's like having these background roles. But that being Tilda's
when as the psychotherapist is interesting because I it's the
fact that he is sort of throughout you have sympathy
for him, and he's the one that's trying to investigate
into this coven. And then he had the one yes,
(33:05):
gets apologized to is spared for what all these women
have done. I just find very very interesting, right, interesting, right,
And I think it's of course again purposely done. And
(33:31):
then a couple of other things I was thinking about. Two,
the use of color very different. So our is absolutely
all about bright colors, and each color is almost like
a framework of what's about to happen, even to the
fact that he obviously I don't know if it's the
technicolor bit and and like they came in and put
color in it later or trying to adjust that. Maybe
(33:52):
I watched it remastered in the four K type of thing,
and I'm like, wait, what because the blood looks actually
like paint that he wanted it so vibrant, that is
over the top the glass in the first scene where
she falls through is a very brightly colored and beautiful.
Even the wine that she can't get the stains out
of it looks like thick paint onto the sink. Uh.
(34:13):
He really wants a different and she ate the blood
versus whatever else is there. But he wants you to
see that blood for sure. And I found that interesting
that because he's very Italian. To me, that's very Italian
level of like the bright colors as what brings the
horror in this type of movie, as opposed to the
second one, which is very muted except for the moments
(34:34):
that are supposed to kind of shock you. Yes, yes,
And I loved the color and the old one it
was very striking. It was very very striking. Uh. And
I would just catch because a lot of the scenes
go on for a minute, like you said, there's a
lot of like staring or like it'll it'll linger in
that color for a minute, and you're like, it's kind
(34:55):
of trippy almost. In the new one, it is very
And that was of the big complaints people had, was
like it's so muted, it's so neutral except for yeah,
like I would say red, like spikes of red when
there's violence, and especially in that end scene where Suspirium
is punishing the people and Marcus's crew, and it's like
(35:19):
the whole thing is red. The lights are red, people
are exploding red. By the way, everyone's naked. I don't
think I mentioned that. Yes, there's a lot of nudity
in the second one, yeah, but other than that there, yeah,
there really isn't that much color, right, except again the
(35:39):
little dream sequence where they're supposed to be like a
floating I guess colorful rainbow rainbow, and I feel like
he did that on purpose. He also likes to do
the slow scene where it slows down drags a little
bit when they're supposed to be either in I guess
conversation with each other through their minds. Is that what's happening,
(36:02):
because like even at the end where she says, what
do you want? They're not speaking. But it's very floaty
as well as the scene is very and I'm doing
a gesture with my hands, y'all. That's like a floaty,
wavy thing, like al was that trippy? That's the second one.
We don't see that at all. The first one you
see some black shadows, you see the eyes and then
you see, uh, when Marcos disappears, because you really never
(36:24):
see too much of Marcos except for at the very
end word they die, and you see it the knife
protruding on the back of her neck, but the outline
of hers in gold, sparkly gold. Yeah, I wasn't expecting that, right, right,
And then, like I will say, also the difference with
(36:46):
and as I'm talking about the final scene the Final Girl,
I will say I did like the fact that the
new movie did not follow that trope to the core.
He wanted a completely different final girl where we in
the original. It is absolutely his every mark of the trope. Again,
though he put a like he was kind of the
(37:07):
standard at that point of those gruesome horror movies that
he set up a whole new context and waited to
do this film, and so it wasn't so tropy that
it was more original to have this girl survived, which
typically yeah, most of the girls don't always survive, and
it's like, what just happened? And she ends up being
the hero of it too, which is the final girl.
(37:28):
But yeah, yeah, and in the new one, it was
interesting to watch it because this was the only the
second time I've seen it So the first time I
watched it, I was like, wait, what, right, she's the witch?
Wait what she's killing everybody? Because she is a very
demure like she she comes from Mennonite community and her
(37:49):
mother was abusive and she's just really quiet. So it's
quite a flip. I mean, she definitely has moments where
she'll stand up for herself and say like no, I
want to do the dance like this, or but it's
still sort of painting it as a way where she's
backing down almost, or she can't do the physical thing
that's being asked to her, so she's trying to get
around it. But when you rewatch it and you're like, huh, okay,
(38:14):
she was really playing that role of this is the
problem that she had or one of the problems you
had with how corrupt the organization was. It's like, look
if I had been this young girl and come in
and this is what you expected me, and then you're
gonna use my body and that's not right. It wasn't
that she was always the witch. It was that she
finally she accepted the witch and it was a different
(38:36):
role than they expected. Correct, That's what I think the
first time I saw it I thought she was just
the witch the whole time and was missing and was
really confused. I was like, wait, why would they do
because they do the whole uh flashbacks with her childhood
as a minnit and I'm like being accepted and her
(38:56):
mother says she's evil and she brought evil into the world,
and I I thought that maybe it was because her
mom was insinuating I don't know why, or maybe she
was raped and or had extramarital affair and so therefore
she was created out of evil. But then I'm going back,
I'm like, oh, maybe she just saw evil in her
because she wouldn't obey. Yeah, because she, like I said,
(39:18):
she calls her evil incarnate. And I think the first
time I saw it, that's what I thought too, was like, oh,
she was born something weird about her birth, and she
was always this. I mean maybe there's a part of
that too. Maybe it's she did kind of it was
always this vessel and she did just have to accept it. Right. Yeah,
a lot going on, as we said, right. I was like,
(39:39):
I said, I wonder if they're supposed to be a
two and it just never got funded or it's in weight,
who knows, it's only the three years. Last time, I
take him ten years. But yeah, and I will say
Jessica Harper was one of the big reasons that this
movie was so successful. She she really put on this
whole different role. Apparently they talked about her dide, sweet demeanor,
(40:01):
being small and coming in as the genuinely kind American,
suspicious of everyone from jump uh be, feeling like she's
an outsider, all those things. They do talk about her aunt,
I believe being from the studio as well, So I
wonder if she knew everything that was going on whatever whatnot.
Um to the point that when we were talking about
(40:23):
the dubbed over speeches for whichever country was released, apparently
Argenta was not happy with the Italian dub over because
they lost Jessica Harper's voice and her voices. Uh he
really loved her voices, very pleasing, so cool, cool cool
f y. I she was also a cameo. I think
we already talked about that in the other movie. But
(40:45):
what made me laugh was like, she's speaking German. Who
she was an American, the only American girl in this one,
and they flipped her, decided to make our German as
a cameo and she looks beautiful, like, oh my god,
she has not really changed. She I absolutely see. But
that is Jessica Harper. She was absolutely familiar to me
because I think she'd been in some other seventies movies.
(41:06):
But I was like, oh, who she is. Yeah. It
was fun to watch these because I watched them back
to back. But I should have started with the old one.
I started the new one and then did the old one.
But then I'm like, I'm gonna have to rewatch and
see if there are any connections because now I'm thinking, well,
what if they are meant to be connected and it's
(41:26):
just messing with my head. I think it's meant to
mess with your head the second one, for sure. Right
that being said, there were a couple of things I
wanted to touch on really quickly about the New one,
and one of them is motherhood. So you know, you've
got these mother witches who are kind of watching over
these younger girls or are at this academy. Um, there's
a stitched pattern in the beginning that says a mother
(41:48):
is a woman who can take the place of all others,
but whose place no one else can take, which, given
the how the Kevin politics go and how superior Um
turns out m interesting. But also I didn't I hadn't
really thought about it this way. But when I was
researching it, I read an article about how kind of
(42:09):
like this was about picking favorites, like a mother picking favorites.
And it was one of those articles that I agreed
with but upset me because it's like, yeah, you know,
parents have favorites, even if they would never admit it.
There is one and this is like you see the
matrons pick like oh, Susie is the one, or oh
Patricia is the one. Oh Patricia. It is down so
(42:30):
about you know, just all of these things and how
those power dynamics play out. A lot of the corruption
is is a part of that of like playing this
game and picking these favorites, whether it is the dancers
or it is the Matrons who will be the leaders um.
(42:50):
And there's a lot of like abuse of power happening,
a lot of questioning around ambition and especially around ambition
at any price and when it means like taking a
host body. I think that was one of the things too,
is they kind of revel in it, like they're laughing
when they use these hooks, and that's That's one of
(43:13):
the things where I was like, it's just a really
fascinating take on if you talk about, which is all
the time on the show, all the time, how it's
kind of this fear of women and women in power,
women with ambition, but this is like that. But then
it went wrong, like then it got correct and messed up.
There are no men to speak up. Really, this was
(43:35):
them right doing it. And again in the older movie,
there's no real theme of motherhood there. They do not care,
they don't they don't really connect with any of them.
You have more of like rivalry against the women, but
also friendships with the women. So it was really kind
of like who is whom and a lot of distrust. Yeah, yeah,
(43:57):
because I don't think any of the girls escape that fire.
I don't think they did either. I think it was
only Susie. Only Susie and what does she tell everyone
after the right And then I did briefly want to
touch on at the end when Susie Suspirium is asking Patricia,
(44:19):
Olga and Sarah, you know, she's kind of granting them
this wish and they all say, she says, what do
you ask? And they all say, we're so tired, we
want to die. And this is another instance where I
think I could be reading too deeply into it, but
it sort of felt like just being stuck in this
kind of abusive system that is just going to use
(44:40):
you and abuse you and throw you away and hurt
you and cause you all this pain, and your way
out is death, Like all they have, all the suffering,
and they choose death. And I feel like that's a
theme you see a lot in horror movies where there's
a system, whether it's like patriarchy or white supposed to
ultimately and you can't get out of it, like you
(45:01):
try and try or try, and you can't get out
of it, and the only way out is de right,
just very there was one portion that I was very
confused by. Maybe I read it too wrong. When they
get the doctor, they tricked him by having that image
of his wife reappear when they drug him. They scream
(45:23):
at him about a not believing women Patricia when she
came to him about everything that was wrong and he
didn't believe her, or be leaving women behind, And I thought,
and they actually say that to him, and I was like,
I mean, it's true. He did both of those things
but not necessarily in all in that context, like it
was an interesting way of like, we're gonna punish you
(45:43):
for this, And then kind I was like, is he
trying to make fun of women saying these things and
blame on one not so innocent man, but a man
that we were sympathetic too. So I was like, I
don't know if he's actually being in cheek too feminists,
but he's actually being honest, Like I don't know what
(46:04):
he's doing. Yeah, yeah, because it could be like, you know,
another commentary on how hypocritical they're being and how far
they've lost their way, which could be I don't know
this guy, and it could be his critique on like feminism,
or you know, in a weird way, it could be
(46:25):
they really did believe that and it was true and
they were mad about it, but not mad enough to
care of Essentially one of those things. They were gaslighting
Patricia pretty hard. No one would believe her they were
truly trying to kill her because they wanted her body,
So it's kind of like, why would you blame that
on him? Yeah? I think they were very That's my
(46:48):
biggest takeaway from that movie is they were very hypocritical.
And they were corrupt and they had just like totally
lost sight of what they purported to be doing, which
was worshiping these three riches, that they were doing it
all the wrong way, only for power. Well, so that
(47:10):
is our discussion. We had a lot of thoughts. We
did we did. I mean, it's two movies, and two
very unique and interesting movies with a lot of obviously
interpretation that you can I don't know if you know this.
I'm gonna throw this in there. Apparently the original Suspiria
was such an influence, especially with their music the Goblin.
(47:31):
Their theme was huge, and it's still very recognizable today
and it's still used in several different like intros. Apparently
people use that for their intros because they love it.
The movie made such an impact that rock bands, including
Smashing Pumpkins, used that name because of his whrror like
he influenced rock and roll in a weirdly dynamic way
(47:52):
and unexpected and I do like, I think it's such
a contrast again to the newer movie. And we didn't
talk about that that he uses that type of music
and he did it purposefully to mess with you, like,
to mess with that soundscape, and it hit because we've
kind of heard those same like beats and sounds to uh,
let's say Halloween or we hear uh he like the
(48:17):
it brought that like I don't know what came Yeah, yeah,
like the Psycho was the original, Yeah, it's the original,
but like that kind of had that whole power dynamic
within it um and that conversation of this type of
style of the loud and screechy and you're like what
is happening to the very like almost silence of the
newer one. The sounds were very, very purposeful, but he
(48:39):
used Argenta used music purposely to mess with individuals and
it it was a whole thing. It's a whole thing
still when people hear that music. So I thought was
there Yeah, yeah, No. I thought the music choices were
interesting in both of them. And I love that kind
of stuff. I love like the entertainment and art of
scaring people fascinating. Yeah. But speaking of listeners, if you
(49:05):
have any topics that you would like us to cover,
please email them to us that you can do that
at Stuff Media, mom Stuff at iHeart media dot com.
You can find us on Twitter at mom Stuff podcast
or on Instagram at stuff I've never told you. Thanks
as always you are super producer. Christina, Thank you and
thanks to you for listening. Stuff Owner told your prediction
of iHeart Radio. For more podcast on iHeart Radio is
(49:25):
the iHeart Radio app Apple podcast. I'll ready listen to
your favorite shows.
Hey, this is Annie and Samantha and welcome to Stephan.
I've never told your protection of I Heart Radio. So today,
in our continuing just really running head first into Halloween
(00:25):
and spooky times, we are going to be doing a
double feature of Suspiria, the old one and the new one,
which has been fun because neither of us had seen
the old one before when we had decided to do
this true story, but we both watched it. Now. That
being said, a trigger warning on this. I don't think
(00:46):
we're gonna get too intensely into anything, but there is
some kind of gruesomeness because we are talking about horror movies.
It's really we're not going to go into depth, but
you know, just to put that out there. And I
think we've already mentioned it, but we're probably going to
do multiple movies this month. Episode movies, episode movies, movies, episodes,
(01:08):
you know what I mean, because they're just so many.
We both have horror movies. There's so many to go over.
I think a lot of them have really interesting themes
when it comes to women and kind of all these
anxieties we have around that. And I really want to
talk about Black Swan. So it's odd to me that
we're sort of doing those women in horror and dance theme,
(01:33):
but you know that's just not just what's happening, right.
I've never seen Black Swans, so this will be an
interesting take from me as well. Those types of movies
are a little more trippy because it's not seen as
horror as a thriller suspense, I guess, like the logical thrillers,
and typically those are like whatever. So it'll be interesting
(01:54):
because I've always seen one Aeronofski film and a Belitas Mother.
That one was twisted as hell. Yes, we will talk
about butter in the Black Swan one because that there's
a similar theme in Black Swan of like a male
artistic director who is getting like a woman is his
(02:16):
muse and the woman is kind of like suffering for
the art, which we've talked about before. But yes, yes,
I will say Black Swan is not as trippy and
as step as a Mother is, Okay, I mean I
just remember being prepped for it in that Jennifer Lawrence
was talking about how it kind of damaged her at
that point in time, and it made me not really
(02:38):
love Aronofsky in general. So I'll it'll be an interesting take.
I think, yes, oh, yes, for sure, but that is
for the future today. Yes, we're talking about Suspiria. Yes
and yeah. So let's jump into this classic version, the
original Suspiria. And there's a lot of feeling about the
(02:59):
fact it has been remade, including from the director. So
but let's go ahead and jump into it. So it's
directed by an Italian filmmaker Dario Argento in nineteen seventies seven,
and this movie has been held as one of the
best horror movies of all time. As in fact, according
to one article, it said that it was in top
twenty of all time from professional film critics, so they
(03:21):
if they had to like test, say which ones were
their top twenty, this made the list. Uh. So we
open up to see a young American Susie Banion played
by Jessica Harper, arriving at the airport in Munich on
a very stormy night, like unusually stormy apparently it is
a part of the plot. After struggling to get a taxi,
literally jumping in front of one to stop it, she
(03:44):
arrives at the prestigious academy in Freiburg, where we see
another student leaving in a panic and Susie then gets
turned away from the studio is told to leave like
the person who's yelling at her the intercommon way leave
essentially so sleeve the studio, and as she does, as
she witnesses the young lady who left in a panic,
(04:04):
who is Pat you'll want to know that name, walking
through the woods in a hurry, in a very scared
state of being, and we cut them to see Pat
arriving at her friend's place after leaving the school, and
she tries to talk about why she ran away, but
it's too scared, cold and wet, so she retreats into
the bathroom. When we proceed to see the first brutal
(04:27):
scene and apparently Argenta is known for this kind of thing.
And of course where I come through, going girl run,
stopped looking at the damn window because I'm like, there's
b eyes run. That's when you run, you know, whatever,
in which both Pat and her friend are killed, so
patistad repeatedly with the final shot of the knife going
(04:48):
directly into her heart, So you see a knife going
into an actual heart. I guess it's movie magic makeup maybe,
and then being hung all falling through a glass ceiling
and then we see her friend die due to the
metal and glass falling on top of her, and by
the way, throughout the scene, she's knocking on all the
(05:09):
doors screaming, help, my friends getting murdered. Nobody stops to help,
by the way, and then we move on to see
Susie who has finally made it inside of the dance
studio Dance Academy, and she's introduced to Madame Blanc who
played by Joan Bennett, which, by the way, this was
her last movie that she'd ever filmed, and she was
(05:30):
also nominated for a Saturn Award for her performance. She
didn't win, but she was nominated and Ms Tanner played
by Alida Valley. Upon her arrival, she learns of Pat's
death and murder, and at this point Susie tries to
recall exactly what Pat is saying as she fled from
the school, but has a hard time remembering what was said.
(05:52):
Apparently this is a style that Argenta has used before
um and likes to use in a lot of his movie,
so the whole like hidden message you can't quite remember
always there. After she'd been told she would be boarding
with another student due to her room not being ready
at the academy. She decides that she would rather stay
with that other student rather than the academy, but uh
(06:14):
got some weird reactions from the teachers, including one saying, oh,
you're strong willed, good yea, and after that another bazaar
encounter with the cook. A lot of foreboding stairs in
this movie. Also definitely there's a lot of tropes in
(06:35):
this probably originated from this, so he definitely created a style. Yes,
some odd staring for voting stairs as she passes by
the cook specifically, and then she gets sick. Weird. I
don't know what's happening. This glittering light made her sick,
and she's told she has to try to dance, and
then she passes out while she's dancing. It's really dramatic,
(06:56):
and then has to be seen by a doctor who
puts her on a very restrictive eye it that includes
ambrosia wine. That's how they say it. So I was
like okay, and it's moved into the dorm against her wishes,
and of course more weird things happen, like maggots falling
out of the ceiling causing them to have to be
moved into the practice hall for the night, and y'all.
(07:16):
That probably was the creepiest scene to me, the maggots
in the hair. So they all have to move into
the practice hall for the night, where her classmate and neighbor,
her dorm neighbor Sarah, tells her of this incident where
she is next to the schooler that director or rooms
next to a school director and she knows this weird
(07:37):
snoring whistling sound and it has to be her and
the school director was supposed to be gone at this time,
but you know, we see this floating image come and
take a bed next to the students, so that was
kind of like a huh, another weird occurrence. Of course,
next day we see a blind pianist who we are
(07:58):
introduced earlier into in the movie, but he comes in
leaves his guide dog at the door, and I was
very scared. I was like, oh no, not a dog.
Not a horror movie. And then we hear noises from
the outside as the nephew of Madame Blanc, who she's
already stated means a lot to her, so we know
he's something walks to the school and immediately see Missed
Tanner yelling at the pianist, accusing his dog of attacking
(08:21):
the child, which leads to him leaving the school with
him yelling he knows what happens at this school, and
then we later witnessed his death as his dog gets
spooped and kills him. Weird moment too. Also, there's a
lot of foreboding stairs from the cops in this one,
of course, we also see Sarah trying to figure out
with Susie what the staff is doing, as they can
(08:43):
hear footsteps down the hallways, only to realize thanks to
Susie that they are not leaving but going somewhere unknown. Um.
At the same time, we see that Susie can't stay
awake and pass it out. Big sign of course, with
Sarah being that nosy uh, bad time's come for her. Yes,
after Susie accidentally outs her after telling Madame Blanc about
(09:05):
what Pat said something about iris and secret Uh, Sarah
tries to tell her what she found, including that she
was meeting up with a friend to talk about some
notes she had about the school. But as she's trying
to tell Susie about everything, Sarah realized that Susie is
completely passed out. She runs in fear and after a
long dramatic moment of being cornered into a room, and
(09:26):
I mean dramatic, y'all. She gets caught up in what
I think is supposed to be barbed wire fence, but
if you look at it closely, it's not. But it's
still like I had the moment of a girl. No
she's trapped um and then gets her throat slashed, very
vivid scene. Next day, Susie discovers Sarah's rooms empty, and
it's told that she left without telling anyone, and Susie,
(09:48):
now suspicious, meets up with Sarah's friend, finds out about
the history of which Is and some of the things
that Sarah has been talking about through a professor that
they both know, so that she has this long conversation
about which is and the fact and the history of
the school is long and dark and all my goodness,
including the fact that he tells her that as long
as the mother which is alive, all of them will
(10:11):
be alive, so that you must kill the queen essentially
to kill off the rest of them. So important information
to know. And by the way, if you haven't seen
this film, I had to tell any that each one
of the actors speak their own language, so you have
four different languages spoken, but because of those types of movies,
they would just dub them according to where they were
(10:33):
going to be seen. So you have an American actors
speaking English while the German actors are speaking German, and
they just dubbed over it. So it's really obvious and
kind of confusing because you're like, but that's English, but
that's not. I had that moment for a couple of times,
and when I read that, I was like, oh, that's smart,
cheapest way to do this. So yes, say, would just
memorize each other's lines so they knew how to react.
(10:55):
So when you see the German professor talking to the
American actress, is very obvious, like huh, just so you know.
So after Susie returns, she gets suspicious of the food
as well, and she dumps all of it and then decides,
after finding a note left by Sarah, to follow the footsteps,
which leads her to Blanc's office, which has a blue
(11:16):
iris that she knows about, uh, and she turns it
opens it up to an eerie hallway, lots of writing,
lots of weird chanting items everywhere. That leads her to
the coven, where the staff are meeting and find out
that not only are they all witches, but they're going
to kill her that night, like they keep saying, kill
the American, Kill the Americans, um. And she tries to
(11:37):
find a way out and instead finds the Corps of
Sarah really interesting thing, and find the director, who turns
out to be Helena Marcos, who is the Queen of
the coven or Mutter Suspiriorum or Mother of Size, who
is part of the Three Witches Um. After Marcos six
zombie Sarah onto her to kill Susie, Susie stabs Marcos
(11:58):
so you can only see the out line of her,
which causes the death of the entire coven and as
she runs to leave the academy, the entire academy burst
into flames, and that's the end, as we see her
crying and we hear screaming in the background. So thin, yep.
And we're going to talk more about the style differences
(12:20):
and compare in contrast these movies, because Samantha and I
came at it from a very interesting angle, I think,
where we both saw the new one first, and so
when I was watching the old one, it was interesting
because I was kind of having the reverse of like, oh,
Marcos and like trying to fit it into what I've
seen in the new one and how that was going
to match up, and most of it really doesn't match it,
(12:45):
which I think, according to a lot of what we
read was probably good for us because we didn't enter
the new one like constantly comparing and sort of being disappointed.
It sounds like, yeah, let's talk about the news Suspiria,
(13:14):
and it was inspired by this, this nineteen version, but
this is eighteen supernatural horror film directed by Luca guadno
and written by David Casanis. I hope I'm getting it
somewhat in the ballpark, And this movie was a long
time coming. Guad Nino attained the rights from the original
creators in two thousand eight, so it's ten years. The
(13:36):
plot follows an American woman, Susie Bannon, played by Dakota Johnson,
who enrolls in a dancing school in Berlin that is
run by coven of witches. It also stars Tilda Swinton,
who plays both the female lead choreographer and the male
psychotherapist associated with the company, which, by the way, I
saw this at a local theater, the Plaza. I believe
(13:58):
there were several drinks in before I went. I did
not know that that was to me, So it was
supposed to be hidden. They even made a pseudonym for her, uh,
in order to the identity. So it was purposeful that
you weren't supposed to know. But then there was like,
of course to the deep investigative people like nope, I
gotta know, and then just blasted it. And it wasn't
(14:19):
supposed to be told. It was supposed to keep you
with suspense at that level of like, you're not supposed
to know who this person is. And hopefully the intent
was that she did such a great job and portraying
this role and she does. Although for me when I
first watched it, I was like, uh, that person looks
off was with the mackup, Like I knew it was makeup.
I just didn't know who. I remember looking it up,
(14:41):
but it was. It was supposed to be a whole
like hidden like Jim, but could not handle it, and
so well, that makes me feel better than that wouldn't
be the first time I've seen kind of a cerebral
movie at the plaza with a couple of drinks and
left later like uh, I didn't make since I just
(15:01):
didn't get it and I don't know where the line is.
The original film star Jessica Harper has a cameo in
this as well. It is set up in acts and
starts in nineteen seventy seven when Susie Bannon arrives in
Berlin to audition for the Marcos Dance Academy. In part
escaping her abusive mother, who refers to her as Sin incarnate.
(15:22):
Susie makes friends with another student, well off Sarah, and
at the same time draws the eyes of Adam Blanc
Tilda Swinton Um, the artistic director and choreographer. But wouldn't
you know it, there her arrival happens to be right
as another student named Patricia went missing after she told
a psychotherapist that the academy was run by a coven
of witches who worships the Three Mothers. One of Patricia's friends, Alga,
(15:47):
accuses the academy's patrons of being witches and being the
culprits behind whatever happened to Patricia. Olga tries to make
her escape, but get stuck in a room in the school.
As she has trapped, Susie dances from Adam long and
her movements after Madam Blanc does some kind of weird
there's a lot of weird stairs in this one as well,
(16:07):
where you're like touching, so you're like something happened here,
some transparence happened. So as Susie is dancing, her movements
are somehow inflicting damage on Olga, or that's what the
cuts seemed to imply. Between the scenes, the matrons find
her body and drag her away with hooks covin politics.
(16:28):
There's a lot of coup of politics in here. The
coven holds an informal election um deciding to stick with
Helena Marcos as their leader. She's been the leader for
a very long time, and they choose her over Block
even while planning to use Susie as a host body
for Marcos. Bit later, another matron kills herself, so a
(16:49):
lot of unrest apparently going on, a lot of taking
of sides. There was a whole thing with the because
I was really confused. I was trying to figure this
out because the entire time way always see the dancing
of Susie and then the Alga being pretty much broken
into pieces. The baitment is in horror like she you
see her face as if she knows what's happening, but
(17:10):
then we also see her unrest. We don't know what's
happening with her internally, and why maybe she just finally
had enough doesn't ever explain. I don't think it ever explains.
And my interpretation of it was because I feel like
a part of this whole movie. The thing is that
this coven became corrupt and really lost sight of their
(17:33):
whole thing, and they get punished at the end for it,
which we'll talk about. And I felt like she was
because she never says anything, even if I'm remembering quickly,
She's just kind of always in this state of like
watching in horror, and so I feel like maybe she
just had this moment of like, yeah, opening her eyes
and thinking, what have we done? What if we become?
(17:54):
But I don't think it ever really explains it. I
could be wrong, though, because again I've missed a lot
of things the first time I watched it, and I
did rewatch it for this but still there's a lot
going on in this movie, and that's probably one of
the biggest critiques of it is that it never really
seems to decide what it wants to be. There's just
so much happening, right, okay, but anyway, as blocksmant, Susie
(18:18):
lands the starring role in Vulk. The psychotherapist, suspicious of
the goings on at the academy, requests that Sarah help
him secure Patress's journal so he can learn more about
the events leading up to her disappearance. Sarah eventually disagrees,
but in her search accidentally uncovers the inner sanctum of
the academy that the coveny uses for their rituals. She
recovers one of the hooks and takes it to the psychotherapist.
(18:42):
Sarah later returns to the sanctum on the opening night
of Vulk and finds Patricia shriveled and unwell. The matrons
find Sarah and Condra hole in the floor that Sarah
falls through, breaking her leg. She manifests in the middle
of the performance of Volk, dancing her part in some
sort of trance, but her and Susie's eyes seemed to
change color while they're dancing, and Sarah collapses once her
(19:06):
performances over. Afterwards, the company is eating to celebrate opening night,
but the matrons but all the students except Susie in
a similar trance. The psychotherapist gets rid of the evidence
all around Patricia and goes home to each journey, only
to find his long lost wife who went missing after
the war. However, after talking for a bit, she disappears
in the psychotherapist realizes he has been led back to
(19:27):
the academy, where the Matrons are waiting for him. They
take him to their sanctum where they lure Susie and
do you see a disemboweled Patricia, Olga and Sarah and
they start their ritual um. We also see Helena Marcos
and she doesn't look good. Everybody look good. It's like
a kind of like the Mermaid from Cabin in the Woods,
(19:51):
just a bloated fish shop thing. Yeah yeah, yeah, okay.
So Blanc attempts to intervene when it seems that Susie
is ready to accept her fate as Marcus's host, but
then reveals Susie then reveals herself to be Mother's Suspirium,
one of the three witches that once from the Earth
that the coven worships. She summons an incantation of death
(20:14):
to kill corrupt Marcos and her followers in order to
cleanse the academy, So everybody who voted for Marcos, that's
the end um. They blow up. Yeah, just a spray
of very bright red blood and a very red lit scene.
Susie Slash Suspirium leads Patricia, Olga and Sarah into their
(20:38):
desks as peacefully as possible. It's something that when she
asked what you want, what they say they want while
the students and matrons left alive dance in the background.
The psychotherapist is released and Susie Slash Suspirium later apologizes
to him, telling him how his wife actually died. She
then erases his memories, causing a seizure. And that's yeah,
(21:05):
very interesting. Well we come back to see coming back
to life. Yeah, kind of it's like if they held
her her neck in place, she was alive, but I
don't know if like she breathed a sigh content and
then the other witch who was helping Marcos is like
(21:26):
she feels she feels it. So you see this like
despair within the school because they announced Blank had left,
but then is actually alive and you're like what. And
then you see them cleaning the like all of the
blood and such below and she's actually alive. So it's
kind of like, what's happening. What's happening? Right, So there's
(21:49):
this like kind of uneven ending. I think, you know how,
I feel like this is how most horror movies go
in order to like open up just in case it
goes really well to come in. But I guess it
didn't go very well. I don't know this later in
the makings, who knows. Who knows. It took ten years
after he bought the right, so maybe maybe not. It's true. Yeah,
(22:12):
there's a lot to be said about both movies, and yeah,
obviously both movies are very very different except for common
thing throughout, and as Argento stated, when he was talking
about the new remake coming, he wasn't too pleased. He
essentially said, either you're gonna do exactly what was there,
(22:33):
If you're remaking it and doing exactly what I did,
so what's the point did you do that? Or you're
going to do something completely different? And then how is
this suspiria? So he made that statement in regards to
the remake. I didn't see any reports after it was done.
I don't know if you watched it or what, so
if anybody wants to let me know because I didn't
see an after reaction of the film, because obviously it
(22:56):
is very different, so we wanted to do a quick comparison.
Is the same name and similar in themes, so again
we have common characters coming in. We have the American
coming to a school in Germany, except the location has
changed a little bit. There's more politics in the second
one than the first one, obviously definitely different in its
(23:17):
intent and presentation, including the fact that the first one
is a part of a trilogy, which is a part
of what was written I believe by Thomas D. Quincy,
who did I believe the concept of the Three Mothers.
So the three witches in this one again originally part
of the trilogy three three Mothers. This is what the
(23:39):
fandom sizes us. This piece asserts that just as there
are three faiths and three graces, there are three sorrows
Matter Lackrimm, our Lady of Tears, Matters, Suspirium, our lady
of size and matter, Tenant bad Room, our Lady of darkness.
So her AGENTO did three movies, including Suspiria, which is
(23:59):
what we Inferno and The Mother of Tears. Um I
have not seen the other two, have you Nope, I
have not. Okay, So there is an intent behind the entirety,
and we do talk about that in the first one.
Does it talk about in the second one? It does. Yeah,
they talked about the three mothers in there, but I
think it's very like brief passing. And then obviously this
(24:24):
one is too. I think it's very brief. Is the
German professor explaining what's happening, and the queen and mother,
but Marcos is the center. And that's kind of the
difference is that Marcos is already seen as matters Suspirium
in the first one, and obviously she's not in the
second one. She's just a person, yes, right, She's like
(24:46):
the corrupt person who's lost their way and believes are
uses a name like Suspirium to do what they want
to do and to have power and power over others,
but really has lost the original intent and it is
kind of like blasphemously using this name. She was not happy.
(25:07):
She was not happy. She was she was kind of
an anti hero in that she was trying to put
back what was wrong, as in like some of the
things like including the fact that she took that memory
from the psychoanalysis the doctor because she was like, we
did not mean I regret what my daughters have done
to you, was what she says to him. And I'm like, huh,
(25:30):
that's an interesting justice level of takes. Yeah. I mean,
I think the movie is the new one. The remake
is really uneven, but there are parts I really like
of it. And I do really like the kind of
primal modern dancing that feels really like it's very yeah, visceral,
(25:53):
and it feels just very kind of yeah, primal. And
so in the end when it reveals her, there's kind
of like this level of you know, this is when
these witches what this earth? It was a much more
like primal violent time where her sense of balance seems
(26:16):
to be I'm killing you because you've been using the
right for these things. It is really interesting because that
the new one is almost all women, right, right, right?
I agree. So there's a couple of things I wanted
to talk about between the two movies on that, but
you just brought up, including dance. And I think it's
(26:38):
very obvious that in the first one it's just a
plot point. You just have somewhere to go. This is
set up here we go. In the second one, it
actually becomes a character. It becomes a part of the
actual movie as it is a character in itself, because
they use dance as a form of casting spells. And
I found that very necessary because at the end with
(26:59):
the whole ritual where you see them do that, but
when she does the whole actual performance in front of
the audience, so that is also invoking the spirit and
bringing a whole thing, including again Dakota Johnson's and ursuits,
these character dancing alone and feeling all of that and
talking about how it's gonna make our sick and just
overall exhaustion. But it actually broke a person's body, like
(27:20):
that's what it did to her with like every pool,
every tug, like the vast differences caused enough critics to
be like, Okay, we didn't love the second movie, but
we love the dance portion in this movie. And I
thought it was beautiful because also she is the mother
of size, and throughout the movie there's no music tied
(27:41):
into the dance. It's all heavy breathing and it sounds
like yeah within the movie, and I found that very
like telling as a person who loves modern dance, So
obviously you have a ballet studio versus modern dance studio,
and then it's very different in form, graceful and beautiful
in both, but this interpreted level of this instead of
(28:03):
just performance in this other way of using it in
the movie where you see her literally fleeting through one
thirty second part to the film as versus whole scenes
beautifully choreographed dancing that is very vastly different, and how
he's focusing the art and the color of the dance.
(28:24):
Did you think that, Yeah? Yeah, And I think it
was it was so almost violent of a style of dancing,
and I liked, like the silence was unnerving and it
just felt so like kind of jerky but powerful, and
those discussions around like physical limitations and having to push
(28:45):
yourself and jump higher and higher up the floor and
then having that juxtaposed against like a broken body from
from this style of dancing. And again, like there's so
many things in this movie where I'm like, am I
reading into this too much? But it's like, you know
that kind of physicality of dancing and how it does
often leave people broken or hurt or injured and have
(29:08):
these things and that for this art there is a
danger behind it, even though I think a lot of
people see it as sort of frivolous, and I like
that that jectiposition as well. Of like dancing women is
seen as often like kind of a quote freely thing,
pretty thing, but this was very much like the opposite
of that. It felt like dangerous and violent and intense.
(29:30):
And then they talked about that Susie actually broke the
spell because she kind of just alternated from the routine,
which is what made Sarah collapse because she wasn't doing
the actual full dance. And they have a whole conversation
in her dream, which we need to talk about the
dreams later on, but in her dream having a talk
(29:50):
with Blanc about the fact that she broke the spell
and she knew it, but she couldn't stop what she
was doing even though it was going against the choreography,
so it broke the trance essentially what she's talking about.
But of course that is a big again character point
in that movie as versus the old movie. That was
not a focus. They did not care about the dance,
(30:11):
and that's fine because it was literally made as a
plot point. Move on, here's a scenery. We're setting this up.
Although we do see one class in the pianist, so
we see that in the original. But speaking of the pianist,
as you talked about, so the in the first movie,
there are men in there. So you see the young
man who is helping her move into the place, and
(30:31):
he apparently is the go boy for Madame Blanc is
how they say. Essentially, he doesn't have enough money to
pay for dorm, so what he does is servitude to
Madame Blanc in order to stay. And then you see
the pianist, who obviously makes enemies of them, and it's
just there. Then you have the large guy with new teeth.
I guess he's like the butler character and is quiet
(30:53):
and is just there. And then you have the young
man and the doctor and then the outside two outside
characters that are friends with Sarah. But if you look
at the way they use men in this, they're all subjugated.
They are all servants and or in uh, some type
of labor intensive to the women there. And they do
(31:14):
the dirty word because in the first scene you see
the hairy arm, not that women can't have hairy arms,
but I think it's intent to be like, this is
a man carrying this out and when we see the
scene with Susie finding that someone is trying to come
get her is the dude with the teeth who never speak.
So the very limited amount of things that are there,
but they still have the men there in that scene,
(31:37):
which I think is a striking contrast to the second
one where even the one main male character is not
actually a man, right right, right right, And there's that
whole seeing where the male police officers come and then
one of them is putting in a trance and Susie
sees them like with the govin like taunting him with
(31:58):
the hook around his petas it is like, oh my god,
what am I watching? I was not expecting this, But yeah,
I just I find that so interesting because I've one
of the main messages I keep coming back to that
movie to me is corruption and I like having this
you know, organization that is all women, but they are
(32:20):
you know, abusing their power. They are after youth and
kind of like taking these younger bodies of women, and
there's just kind of these power dynamics and structures and
in both of these, you know, even the men, the
men play like the lesser role that I think a
lot of times we get or like some people get
(32:42):
mad about when they're like, men have no roles, Like
that's what women have been doing in horror movies forever.
It's like having these background roles. But that being Tilda's
when as the psychotherapist is interesting because I it's the
fact that he is sort of throughout you have sympathy
for him, and he's the one that's trying to investigate
into this coven. And then he had the one yes,
(33:05):
gets apologized to is spared for what all these women
have done. I just find very very interesting, right, interesting, right,
And I think it's of course again purposely done. And
(33:31):
then a couple of other things I was thinking about. Two,
the use of color very different. So our is absolutely
all about bright colors, and each color is almost like
a framework of what's about to happen, even to the
fact that he obviously I don't know if it's the
technicolor bit and and like they came in and put
color in it later or trying to adjust that. Maybe
(33:52):
I watched it remastered in the four K type of thing,
and I'm like, wait, what because the blood looks actually
like paint that he wanted it so vibrant, that is
over the top the glass in the first scene where
she falls through is a very brightly colored and beautiful.
Even the wine that she can't get the stains out
of it looks like thick paint onto the sink. Uh.
(34:13):
He really wants a different and she ate the blood
versus whatever else is there. But he wants you to
see that blood for sure. And I found that interesting
that because he's very Italian. To me, that's very Italian
level of like the bright colors as what brings the
horror in this type of movie, as opposed to the
second one, which is very muted except for the moments
(34:34):
that are supposed to kind of shock you. Yes, yes,
And I loved the color and the old one it
was very striking. It was very very striking. Uh. And
I would just catch because a lot of the scenes
go on for a minute, like you said, there's a
lot of like staring or like it'll it'll linger in
that color for a minute, and you're like, it's kind
(34:55):
of trippy almost. In the new one, it is very
And that was of the big complaints people had, was
like it's so muted, it's so neutral except for yeah,
like I would say red, like spikes of red when
there's violence, and especially in that end scene where Suspirium
is punishing the people and Marcus's crew, and it's like
(35:19):
the whole thing is red. The lights are red, people
are exploding red. By the way, everyone's naked. I don't
think I mentioned that. Yes, there's a lot of nudity
in the second one, yeah, but other than that there, yeah,
there really isn't that much color, right, except again the
(35:39):
little dream sequence where they're supposed to be like a
floating I guess colorful rainbow rainbow, and I feel like
he did that on purpose. He also likes to do
the slow scene where it slows down drags a little
bit when they're supposed to be either in I guess
conversation with each other through their minds. Is that what's happening,
(36:02):
because like even at the end where she says, what
do you want? They're not speaking. But it's very floaty
as well as the scene is very and I'm doing
a gesture with my hands, y'all. That's like a floaty,
wavy thing, like al was that trippy? That's the second one.
We don't see that at all. The first one you
see some black shadows, you see the eyes and then
you see, uh, when Marcos disappears, because you really never
(36:24):
see too much of Marcos except for at the very
end word they die, and you see it the knife
protruding on the back of her neck, but the outline
of hers in gold, sparkly gold. Yeah, I wasn't expecting that, right, right,
And then, like I will say, also the difference with
(36:46):
and as I'm talking about the final scene the Final Girl,
I will say I did like the fact that the
new movie did not follow that trope to the core.
He wanted a completely different final girl where we in
the original. It is absolutely his every mark of the trope. Again,
though he put a like he was kind of the
(37:07):
standard at that point of those gruesome horror movies that
he set up a whole new context and waited to
do this film, and so it wasn't so tropy that
it was more original to have this girl survived, which
typically yeah, most of the girls don't always survive, and
it's like, what just happened? And she ends up being
the hero of it too, which is the final girl.
(37:28):
But yeah, yeah, and in the new one, it was
interesting to watch it because this was the only the
second time I've seen it So the first time I
watched it, I was like, wait, what, right, she's the witch?
Wait what she's killing everybody? Because she is a very
demure like she she comes from Mennonite community and her
(37:49):
mother was abusive and she's just really quiet. So it's
quite a flip. I mean, she definitely has moments where
she'll stand up for herself and say like no, I
want to do the dance like this, or but it's
still sort of painting it as a way where she's
backing down almost, or she can't do the physical thing
that's being asked to her, so she's trying to get
around it. But when you rewatch it and you're like, huh, okay,
(38:14):
she was really playing that role of this is the
problem that she had or one of the problems you
had with how corrupt the organization was. It's like, look
if I had been this young girl and come in
and this is what you expected me, and then you're
gonna use my body and that's not right. It wasn't
that she was always the witch. It was that she
finally she accepted the witch and it was a different
(38:36):
role than they expected. Correct, That's what I think the
first time I saw it I thought she was just
the witch the whole time and was missing and was
really confused. I was like, wait, why would they do
because they do the whole uh flashbacks with her childhood
as a minnit and I'm like being accepted and her
(38:56):
mother says she's evil and she brought evil into the world,
and I I thought that maybe it was because her
mom was insinuating I don't know why, or maybe she
was raped and or had extramarital affair and so therefore
she was created out of evil. But then I'm going back,
I'm like, oh, maybe she just saw evil in her
because she wouldn't obey. Yeah, because she, like I said,
(39:18):
she calls her evil incarnate. And I think the first
time I saw it, that's what I thought too, was like, oh,
she was born something weird about her birth, and she
was always this. I mean maybe there's a part of
that too. Maybe it's she did kind of it was
always this vessel and she did just have to accept it. Right. Yeah,
a lot going on, as we said, right. I was like,
(39:39):
I said, I wonder if they're supposed to be a
two and it just never got funded or it's in weight,
who knows, it's only the three years. Last time, I
take him ten years. But yeah, and I will say
Jessica Harper was one of the big reasons that this
movie was so successful. She she really put on this
whole different role. Apparently they talked about her dide, sweet demeanor,
(40:01):
being small and coming in as the genuinely kind American,
suspicious of everyone from jump uh be, feeling like she's
an outsider, all those things. They do talk about her aunt,
I believe being from the studio as well, So I
wonder if she knew everything that was going on whatever whatnot.
Um to the point that when we were talking about
(40:23):
the dubbed over speeches for whichever country was released, apparently
Argenta was not happy with the Italian dub over because
they lost Jessica Harper's voice and her voices. Uh he
really loved her voices, very pleasing, so cool, cool cool
f y. I she was also a cameo. I think
we already talked about that in the other movie. But
(40:45):
what made me laugh was like, she's speaking German. Who
she was an American, the only American girl in this one,
and they flipped her, decided to make our German as
a cameo and she looks beautiful, like, oh my god,
she has not really changed. She I absolutely see. But
that is Jessica Harper. She was absolutely familiar to me
because I think she'd been in some other seventies movies.
(41:06):
But I was like, oh, who she is. Yeah. It
was fun to watch these because I watched them back
to back. But I should have started with the old one.
I started the new one and then did the old one.
But then I'm like, I'm gonna have to rewatch and
see if there are any connections because now I'm thinking, well,
what if they are meant to be connected and it's
(41:26):
just messing with my head. I think it's meant to
mess with your head the second one, for sure. Right
that being said, there were a couple of things I
wanted to touch on really quickly about the New one,
and one of them is motherhood. So you know, you've
got these mother witches who are kind of watching over
these younger girls or are at this academy. Um, there's
a stitched pattern in the beginning that says a mother
(41:48):
is a woman who can take the place of all others,
but whose place no one else can take, which, given
the how the Kevin politics go and how superior Um
turns out m interesting. But also I didn't I hadn't
really thought about it this way. But when I was
researching it, I read an article about how kind of
(42:09):
like this was about picking favorites, like a mother picking favorites.
And it was one of those articles that I agreed
with but upset me because it's like, yeah, you know,
parents have favorites, even if they would never admit it.
There is one and this is like you see the
matrons pick like oh, Susie is the one, or oh
Patricia is the one. Oh Patricia. It is down so
(42:30):
about you know, just all of these things and how
those power dynamics play out. A lot of the corruption
is is a part of that of like playing this
game and picking these favorites, whether it is the dancers
or it is the Matrons who will be the leaders um.
(42:50):
And there's a lot of like abuse of power happening,
a lot of questioning around ambition and especially around ambition
at any price and when it means like taking a
host body. I think that was one of the things too,
is they kind of revel in it, like they're laughing
when they use these hooks, and that's That's one of
(43:13):
the things where I was like, it's just a really
fascinating take on if you talk about, which is all
the time on the show, all the time, how it's
kind of this fear of women and women in power,
women with ambition, but this is like that. But then
it went wrong, like then it got correct and messed up.
There are no men to speak up. Really, this was
(43:35):
them right doing it. And again in the older movie,
there's no real theme of motherhood there. They do not care,
they don't they don't really connect with any of them.
You have more of like rivalry against the women, but
also friendships with the women. So it was really kind
of like who is whom and a lot of distrust. Yeah, yeah,
(43:57):
because I don't think any of the girls escape that fire.
I don't think they did either. I think it was
only Susie. Only Susie and what does she tell everyone
after the right And then I did briefly want to
touch on at the end when Susie Suspirium is asking Patricia,
(44:19):
Olga and Sarah, you know, she's kind of granting them
this wish and they all say, she says, what do
you ask? And they all say, we're so tired, we
want to die. And this is another instance where I
think I could be reading too deeply into it, but
it sort of felt like just being stuck in this
kind of abusive system that is just going to use
(44:40):
you and abuse you and throw you away and hurt
you and cause you all this pain, and your way
out is death, Like all they have, all the suffering,
and they choose death. And I feel like that's a
theme you see a lot in horror movies where there's
a system, whether it's like patriarchy or white supposed to
ultimately and you can't get out of it, like you
(45:01):
try and try or try, and you can't get out
of it, and the only way out is de right,
just very there was one portion that I was very
confused by. Maybe I read it too wrong. When they
get the doctor, they tricked him by having that image
of his wife reappear when they drug him. They scream
(45:23):
at him about a not believing women Patricia when she
came to him about everything that was wrong and he
didn't believe her, or be leaving women behind, And I thought,
and they actually say that to him, and I was like,
I mean, it's true. He did both of those things
but not necessarily in all in that context, like it
was an interesting way of like, we're gonna punish you
(45:43):
for this, And then kind I was like, is he
trying to make fun of women saying these things and
blame on one not so innocent man, but a man
that we were sympathetic too. So I was like, I
don't know if he's actually being in cheek too feminists,
but he's actually being honest, Like I don't know what
(46:04):
he's doing. Yeah, yeah, because it could be like, you know,
another commentary on how hypocritical they're being and how far
they've lost their way, which could be I don't know
this guy, and it could be his critique on like feminism,
or you know, in a weird way, it could be
(46:25):
they really did believe that and it was true and
they were mad about it, but not mad enough to
care of Essentially one of those things. They were gaslighting
Patricia pretty hard. No one would believe her they were
truly trying to kill her because they wanted her body,
So it's kind of like, why would you blame that
on him? Yeah? I think they were very That's my
(46:48):
biggest takeaway from that movie is they were very hypocritical.
And they were corrupt and they had just like totally
lost sight of what they purported to be doing, which
was worshiping these three riches, that they were doing it
all the wrong way, only for power. Well, so that
(47:10):
is our discussion. We had a lot of thoughts. We
did we did. I mean, it's two movies, and two
very unique and interesting movies with a lot of obviously
interpretation that you can I don't know if you know this.
I'm gonna throw this in there. Apparently the original Suspiria
was such an influence, especially with their music the Goblin.
(47:31):
Their theme was huge, and it's still very recognizable today
and it's still used in several different like intros. Apparently
people use that for their intros because they love it.
The movie made such an impact that rock bands, including
Smashing Pumpkins, used that name because of his whrror like
he influenced rock and roll in a weirdly dynamic way
(47:52):
and unexpected and I do like, I think it's such
a contrast again to the newer movie. And we didn't
talk about that that he uses that type of music
and he did it purposefully to mess with you, like,
to mess with that soundscape, and it hit because we've
kind of heard those same like beats and sounds to uh,
let's say Halloween or we hear uh he like the
(48:17):
it brought that like I don't know what came Yeah, yeah,
like the Psycho was the original, Yeah, it's the original,
but like that kind of had that whole power dynamic
within it um and that conversation of this type of
style of the loud and screechy and you're like what
is happening to the very like almost silence of the
newer one. The sounds were very, very purposeful, but he
(48:39):
used Argenta used music purposely to mess with individuals and
it it was a whole thing. It's a whole thing
still when people hear that music. So I thought was
there Yeah, yeah, No. I thought the music choices were
interesting in both of them. And I love that kind
of stuff. I love like the entertainment and art of
scaring people fascinating. Yeah. But speaking of listeners, if you
(49:05):
have any topics that you would like us to cover,
please email them to us that you can do that
at Stuff Media, mom Stuff at iHeart media dot com.
You can find us on Twitter at mom Stuff podcast
or on Instagram at stuff I've never told you. Thanks
as always you are super producer. Christina, Thank you and
thanks to you for listening. Stuff Owner told your prediction
of iHeart Radio. For more podcast on iHeart Radio is
(49:25):
the iHeart Radio app Apple podcast. I'll ready listen to
your favorite shows.
Stuff Mom Never Told You News
Hosts And Creators
Anney Reese
Samantha McVey
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