14 Unforgettable Facts About Dario Argento's Suspiria

Anchor Bay Entertainment
Anchor Bay Entertainment

By 1977 Dario Argento was already on his way to becoming a cinema legend. He’d proven himself a master of the Italian giallo genre with thrillers like The Bird with the Crystal Plumage (1970) and Deep Red (1975), but for his sixth directorial effort he had something else in mind. A story about witches lurking in a boarding school from his co-writer and partner Daria Nicolodi became the seed of a landmark film, and Argento turned from violent thrillers to dreamlike supernatural terror.

With its vivid color palette, nightmarish story, and evocative score, Suspiria became an instant horror classic, elevating Argento and Nicolodi to iconic status and cementing the director’s reputation as a master of the genre. More than 40 years later, Argento’s fairy tale-inspired, ultraviolent masterpiece is still terrifying new audiences—even as a remake emerges.

1. IT IS PARTIALLY INSPIRED BY A TRUE STORY.

Though the phrase “fairy tale” is often thrown out to describe Suspiria’s unique Technicolor horrors, the original seed of the story apparently emerged from something quite real. According to co-writer Daria Nicolodi, her grandmother Yvonne Müller Loeb was once sent away as a young girl to a prestigious boarding school, only to find that Black Magic was actually being practiced there. When Nicolodi heard the story, she filed it away in her head, until she and Argento took a trip through various European cities with a history of witchcraft. She was reminded of the story, told Argento about it, and Suspiria was born.

2. THE MYTHOLOGY CAME FROM AN ENGLISH WRITER.

To add to the overall aura of Suspiria’s menacing witches, Nicolodi and Argento crafted an overarching mythology of the Three Mothers: powerful sorceresses each with their own imposing lair somewhere in the world. The film’s chief villain is Helena Markos, also known as Mater Suspiriorum, the Mother of Sighs. This term, and the overall concept of The Three Mothers, was borrowed from English essayist Thomas De Quincey, who discussed the mothers as Three Sorrows affecting humanity (metaphorically, of course) in his 1845 book Suspiria De Profundis.

3. IT WAS ALSO INSPIRED BY FAIRY TALES.

With Nicolodi’s initial tale about witches at a finishing school and the Three Mothers concept to anchor the story, Suspiria then needed its distinctive tone. Unsurprisingly when you look at the finished product, Argento and Nicolodi both turned to fairy tales. Nicolodi looked to Alice In Wonderland, Bluebeard, and Pinocchio as she wrote, and Argento was famously inspired visually by Snow White and the Seven Dwarfs—so much so that he made sure cinematographer Luciano Tovoli saw the Disney film before making Suspiria.

“[In] Suspiria … we were trying to reproduce the color of Walt Disney’s Snow White," Argento said. "It has been said from the beginning that Technicolor lacked subdued shades, was without nuances—like cut-out cartoons.”

4. THE CHARACTERS WERE ORIGINALLY MUCH YOUNGER.

Because the film was so heavily influenced by fairy tales, the original screenplay called for the students at the dance school to be very young girls, aged eight to 10. This made producers nervous, not just because of the idea of brutally murdering little girls onscreen—which Argento thought could only improve the horror—but because Argento’s tendency toward perfectionism was not a good fit for child actors. The combination could have proved costly due to production delays.

Eventually, Argento relented and agreed to recast the students as teenagers. However, he and Nicolodi did not update the script to reflect this, hence the often unnerving childlike dialogue between the girls. To heighten the effect, Argento also reflected his original intention to use child actors in the set design. As Suzy makes her way through the film, you’ll notice that the doorknobs are usually at eye level, rather than waist level. Argento included this design element to heighten the subconscious effect of a fairy tale populated with little girls.

5. DARIA NICOLODI WANTED TO PLAY THE LEAD.

In addition to co-writing Suspiria and being Argento’s romantic partner at the time, Nicolodi was also a very accomplished actress. She starred in Argento’s previous film, Deep Red, and when it became clear that adults, not children, would star in Suspiria, she planned to take a lead role again. Nicolodi initially hoped to play Suzy, the clear star, but financiers balked at the idea, arguing that an American lead would boost the film’s international box office potential. With Jessica Harper cast as Suzy instead, Nicolodi lobbied for the supporting role of Sara, but an injury before filming began forced her to bow out and she was replaced by Stefania Casini.

Nicolodi does still appear in Suspiria, though. In the film’s opening minute, as Suzy walks through the airport, you can see Nicolodi (in the video above) walking on the left side of the screen, wearing a red blouse and carrying a large bag.

6. DARIO ARGENTO ALSO MAKES A CAMEO.

Suspiria’s opening murder sequence, in which two women are assaulted and brutally killed by a phantom attacker, is one of the most memorable and visually stunning in all of horror cinema. It sets the tone for what’s to come and absolutely assaults the senses. It’s also where you can find Argento’s own cameo appearance. As he did in many of his films, Argento decided to be the hands of the killer.

7. THE SCORE WAS INNOVATIVE.

To craft the music for Suspiria, Argento turned to the Italian band Goblin, who he’d previously worked with on Deep Red. Argento wanted the score to sound otherworldly, like nothing heard in a film before, so the band developed innovative sounds using a variety of methods.

In addition to their standard rock instruments, Goblin brought in African drums and a Greek stringed instrument called a bouzouki (recommended by Argento), among other things. Then the band got even more innovative, squeezing plastic cups against the microphones to create echoing sounds, hitting metal buckets full of water with hammers, incorporating disembodied voices, and more. With Argento’s close collaboration, they produced an unforgettable, nightmarish score.

8. THE ICONIC SCORE WAS PLAYED ON SET.

    Suspiria’s visual delights are enticing and horrifying enough, but the film is absolutely put over the top by its haunting score from Goblin. The band had already composed early versions of many of the themes for the film by the time Argento began shooting, so he opted to play the score over loudspeakers on set to create a mood. Because all of the film’s dialogue would later be dubbed in post-production (a very common practice in Italian filmmaking at the time), Argento played the score as loud as he could in an effort to create tension among the cast. It seems to have worked.

    9. THE LIGHTING WAS INNOVATIVE, TOO.


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      “With Suspiria we left the natural behind us in order to achieve a totally artificial style,” cinematographer Luciano Tovoli later said of the film. And indeed his camera does create a sense of unreality, of living in a dark fairy tale world. Argento and Tovoli used numerous techniques to achieve this. Argento, for his part, insisted on keeping the camera almost constantly moving, employing numerous dolly and crane shots to give the film its dreamlike imagery. To create the vibrant blues and reds, Tovoli took massive carbon arc lights and stretched colored fabric, rather than the traditional gel filters, over them. This not only created vivid primary colors, but allowed him to put the lights closer to the actors, flooding the whole frame with color.

      10. IT’S THE FIRST IN A TRILOGY.

      Because the Three Mothers concept is at the heart of its mythology, Suspiria presented an opportunity to create a loose trilogy of horror films, each focusing on a different Mother in a different location. Argento wasted little time making the second installment. Inferno (1980), his next film after Suspiria, chronicles an encounter with Mater Tenebrarum, the Mother of Darkness. Though a third film was always promised, it took nearly three decades for Argento to get around to it. The Three Mothers trilogy finally concluded in 2007 with The Mother of Tears.

      11. ONE DEATH SCENE WAS PAINFUL IN REAL LIFE.


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        Though it’s hard to top the film’s opening murder, Suspiria delivered another unforgettable death scene when Sara dives into a room full of razor wire and becomes trapped. Actress Stefania Casini arrived on set that day aware that she was filming a death scene, but unaware of how her character would be killed. When she saw the wire, Argento told her to simply dive in and struggle to reach the window on the other side of the room. Buoyed by a positive mood on set, Casini eagerly obliged. While the barbs were, of course, removed from the wire, it was still real wire. As she struggled, Casini found that the wire kept tangling and wrapping itself around her limbs, pinching her flesh as she struggled. Luckily, the scene was shot in one take.

        “I remember when we were done, I went home, I looked like I had been bitten by thousands of ants,” Casini said. “I will never forget that scene."

        12. IT WAS INITIALLY A CRITICAL FLOP.

          Today, Suspiria is universally regarded as a horror classic by audiences, critics, and filmmakers. It’s an essential genre film and Argento’s masterpiece, but not everyone thought so in 1977. Despite a strong box office showing in the United States, Suspiria was often critically savaged.

          “It is a horror movie that is a horror of a movie, where no one or nothing makes sense: not one plot element, psychological reaction, minor character, piece of dialogue, or ambience," wrote John Simon for New York Magazine.

          13. IT WAS THE FINAL FILM TO BE PROCESSED IN THREE-STRIP TECHNICOLOR.


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            Color is very important in Suspiria. It adds to the fairy tale vibe and creates an otherworldly look that no other horror film has. One of the reasons for this is Argento’s insistence that the film be processed in three-strip Technicolor (the same process that gave classics like The Wizard of Oz their vibrant colors), which by the late 1970s had become both expensive and arcane. It was so arcane, in fact, that Technicolor was throwing out its three-strip processing equipment as the film was being made. Argento persuaded the Technicolor processors in Rome to hold on to a single machine until he finished Suspiria. He got the processing he wanted, and the film got its iconic look.

            14. ARGENTO ISN'T THRILLED ABOUT THE UPCOMING REMAKE.

            A remake of Suspiria has been in the works for several years, and production finally began last year. Directed by Luca Guadagnino and starring Dakota Johnson, Chloë Grace Moretz, and Tilda Swinton, the film is planning a 2019 release. When asked about the remake in a 2016 interview, Argento revealed that he had not been consulted on the project in any way, and argued against the film being made at all.

            “Well, the film has a specific mood,” Argento told IndieWire. “Either you do it exactly the same way—in which case, it’s not a remake, it’s a copy, which is pointless—or, you change things and make another movie. In that case, why call it Suspiria?”

            Additional Sources:
            Suspiria 25th Anniversary , 2001
            Broken Mirrors: Broken Minds: The Dark Dreams of Dario Argento, by Maitland McDonagh

             

            The First Full Trailer for The Crown Season 3 Is Here

            Des Willie, Netflix
            Des Willie, Netflix

            Star Wars obsessives aren't the only people in for a trailer treat today: Nearly two years after the second season of The Crown debuted, the award-winning series about the early days of Queen Elizabeth II's reign is just weeks away from its return. And on Monday morning, Netflix released the first full trailer for The Crown's new season.

            While we've known some of the basic details about the new season—like the time frame in which it takes place and that Olivia Colman and Tobias Menzies would be taking over the roles of Queen Elizabeth and Prince Philip—this is the first in-depth glimpse we've gotten at what's in store for season 3.

            The role duty plays in the lives of the British royal family appears to be an overarching theme, with the trailer showing the country in distress but each of the characters putting on a smiling face for the public. While Elizabeth and Philip's relationship will continue to take center stage in the pricey period drama, Princess Margaret (now played by Helena Bonham Carter) will struggle with her role of being the Queen's sister. And Prince Charles (Josh O'Connor) will have to choose between his love for Camilla Parker Bowles (played by Killing Eve writer Emerald Fennell) and his duty as the heir apparent to the throne.

            Netflix will debut The Crown season 3 on November 17, 2019.

            10 Facts About the Beastie Boys's 'Sabotage' Video

            Beastie Boys via YouTube
            Beastie Boys via YouTube

            With their raucous mix of rock and hip-hop, the Beastie Boys were a band everyone could love. They also made killer music videos, and their 1994 video for “Sabotage” is arguably one of the greatest in the history of the medium. Directed by Spike Jonze and inspired by ‘70s cop shows, “Sabotage” finds the Beasties in cheesy suits, wigs, and mustaches, cavorting around L.A. like a bunch of bootleg Starskys and Hutches. If you were alive in the ‘90s, you’ve seen “Sabotage” a million times, but there’s a lot you might not know about this iconic video.

            1. It all began with a photo shoot.

            Spike Jonze met the Beastie Boys when he photographed them for Dirt magazine in the early 1990s. The band showed up with its own concept. “For years, Beastie Boy Adam Horovitz had been talking about doing a photo session as undercover cops—wearing ties and fake mustaches and sitting in a car like we were on a stakeout,” Adam “MCA” Yauch told New York Magazine. Jonze loved the idea so much he tagged along when the Beasties went wig shopping. “Then, while he was taking the pictures, he was wearing this blond wig and mustache the whole time,” Yauch said. “For no apparent reason.” So was born a friendship that begat “Sabotage.”

            2. Spike Jonze filmed “Sabotage” without permits.

            The Beasties weren’t big fans of high-budget music videos with tons of people on the set. So they asked Jonze to hire a couple of assistants and run the whole production out of a van. “Then we just ran around L.A. without any permits and made everything up as we went along,” MCA told New York. They’re lucky the real cops never showed up.

            3. The Beastie Boys did all their own stunt driving.

            After binge-watching VHS tapes of The Streets of San Francisco and other ‘70s cop shows, the Beasties knew they needed some sweet chase scenes. “We bought a car that was about to die,” Mike D told Vanity Fair. “We just drove the car ourselves. We almost killed the car a couple of times, but we definitely didn’t come close to killing ourselves.”

            4. “Sabotage” inspired the opening sequence of Trainspotting.

            Danny Boyle's 1996 film Trainspotting famously opens with Ewan McGregor and his buddies running through the streets of Edinburgh to the tune of Iggy Pop’s “Lust for Life.” In the DVD commentary, Boyle revealed that the scene was inspired by “Sabotage.”

            5. Two cameras were harmed in the making of “Sabotage.”

            “Sabotage” was supposed to be a low-budget affair—and it would’ve been, had Jonze been a little more careful with his rented cameras. He destroyed a Canon Scoopic when the Ziploc bag he used to protect the camera during an underwater shot proved less than airtight. He apparently told the rental agency the camera stopped working on its own, but he wasn’t as lucky when an Arriflex SR3 fell out of a van window. That cost $84,000, effectively tripling the cost of the video.

            6. MCA crashed the stage of the MTV Video Music Awards to protest “Sabotage” being shut out.

            At the 1994 MTV VMAs, “Sabotage” was nominated for five awards, including Video of the Year. In one of the great injustices of all time, it lost in all five categories. When R.E.M.’s “Everybody Hurts” won Best Direction, MCA invaded the stage dressed as Nathanial Hörnblowér, his Swiss uncle/filmmaker alter-ego. “Since I was a small boy, I had dreamed that Spike would win this,” MCA said as a confused Michael Stipe looked on. “Now this has happened, and I want to tell everyone this is a farce, and I had the ideas for Star Wars and everything.”

            7. There’s a “Sabotage” comic book you can download for free.

            After MCA’s death in 2012, artist Derek Langille created a seven-page “Sabotage” comic book in tribute to the fallen musician and filmmaker. You can download it for free here.

            8. There’s also a “Sabotage” novel.

            To celebrate the 25th anniversary of “Sabotage,” Oakland-based author and Beasties super-fan Jeff Gomez wrote a five-act novel inspired by the video. He spent months researching cop movies and real-life police lingo, and he watched “Sabotage” about 100 times, keeping a detailed spreadsheet of all the action unfolding onscreen. “They created a really great universe, and I just wanted to play around in it for a little bit,” Gomez told PBS.

            9. There’s a “Sabotage”/Sesame Street mashup on YouTube.

            In 2017, YouTuber Is This How You Go Viral, a.k.a. Adam Schleichkorn, created the video “Sesametage,” a reimagining of “Sabotage” made with edited bits of Sesame Street. It stars Big Bird as himself, The Count as Cochese, and Oscar the Grouch as Bobby, “The Rookie.” Super Grover, Telly, Cookie Monster, and Bert and Ernie also turn up in this hilarious spoof of a spoof.

            10. “Sabotage” nearly became a movie—kind of.

            Jonze and the Beasties had such a blast making “Sabotage” that they wrote a script for a feature film called We Can Do This. The movie, which they later abandoned, was set to feature MCA in two roles: Sir Stuart Wallace, one of his “Sabotage” characters, and Nathaniel Hörnblowér (whom he portrayed during that 1994 VMAs protest). Jonze told IndieWire the film would’ve been “ridiculous and fun,” which sounds like the understatement of the century. “There were no 1970s cops in it, but it was definitely in the same spirit,” he said.

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