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Suspiria (1977): Dario Argento’s Technicolor Nightmare · The Cinematic Flashback Podcast

• 0:01
  Speaker 1: This is the only thing I got left. And that's
• 0:04
  Speaker 1: because it kept it on me.
• 0:06
  Speaker 2: Look. Look.
• 0:10
  Speaker 1: What's the matter with you?
• 0:11
  Speaker 3: Don't you remember?
• 0:12
  Speaker 1: What's going on?
• 0:14
  Speaker 2: This is the key that'll get us wherever the teachers
• 0:17
  Speaker 2: go every night.
• 0:19
  Speaker 4: I wrote it out yesterday evening while I was sitting.
• 0:21
  Speaker 2: Here next to you.
• 0:25
  Speaker 1: Susie, do you know anything about witchcraft? Welcome to the
• 0:35
  Speaker 1: Cinematic Flashback Podcast. Get ready to hop into the Wayback
• 0:39
  Speaker 1: Machine as we journey through the wild, bold, and unforgettable
• 0:43
  Speaker 1: films of the 1970s. Each episode, we break down a
• 0:47
  Speaker 1: classic movie or a forgotten gem, seeing how it performed
• 0:50
  Speaker 1: then and now, and wrapping things up by asking, did
• 0:53
  Speaker 1: it groove through the decades or did it lose its feet?
• 0:56
  Speaker 1: I am your host, Chuck Bryan, and today we are
• 0:59
  Speaker 1: reviewing Dario Argento's 1977 film Suspiria, starring Jessica Harper, Stephanie Cassini,
• 1:08
  Speaker 1: and Joan Bennett in her final role. Matt is off tonight,
• 1:13
  Speaker 1: but never fear. We have two excellent guests joining us today. First,
• 1:19
  Speaker 1: I want to welcome back to the Wayback Machine a
• 1:22
  Speaker 1: very good friend of the show. He previously joined us
• 1:25
  Speaker 1: for Westworld, Jaws, and The Deep. He hosts several podcasts
• 1:30
  Speaker 1: of his own, including a film by and phaser set
• 1:33
  Speaker 1: to stun. Over the summer, Matt and I joined him
• 1:37
  Speaker 1: to talk about the great Gene Hackman in Heist. Welcome
• 1:41
  Speaker 1: back to the podcast, Jeff Johnson.
• 1:44
  Speaker 5: Chuck, let me just say thank you because every time
• 1:47
  Speaker 5: I get the call from the Cinematic Flashback podcast, it
• 1:50
  Speaker 5: is a classic, awesome film. And I feel like we're
• 1:54
  Speaker 5: three for three, about to be four for four.
• 1:57
  Speaker 1: I was fully prepared for you to come in like
• 2:00
  Speaker 1: you did on Westworld with a made-up scenario of like,
• 2:04
  Speaker 1: I just got back from this dance school in Germany
• 2:09
  Speaker 1: where you're not going to believe what was going on
• 2:11
  Speaker 1: over there.
• 2:12
  Speaker 5: Hey, anyone that has seen me at a club or
• 2:14
  Speaker 5: a wedding knows I cannot dance at all. I am
• 2:18
  Speaker 5: Willard from Footloose, Chuck. So I'm coming in. I'm coming
• 2:21
  Speaker 5: in honest.
• 2:21
  Speaker 2: Nice. Nice.
• 2:23
  Speaker 1: And I first met our next guest nearly two years
• 2:26
  Speaker 1: ago on your show, Jeff.
• 2:28
  Speaker 3: Yeah.
• 2:28
  Speaker 1: A film buck. We got together to discuss some really
• 2:32
  Speaker 1: obscure Wes Craven film called Deadly Friend. You know, you
• 2:36
  Speaker 1: apparently thought that that went well enough that you invited
• 2:40
  Speaker 1: us both back last year to talk about an even
• 2:44
  Speaker 1: lesser known Wes Craven film called Deadly Blessing. Yes. Our
• 2:48
  Speaker 1: next guest loves all things Jason Voorhees, and it has
• 2:52
  Speaker 1: earned her the nickname Slasher Girl twice. But to me,
• 2:55
  Speaker 1: she will always be my deadly friend. Welcome to the
• 2:58
  Speaker 1: Wayback Machine, Amanda Janik.
• 3:01
  Speaker 6: Oh, thanks for having me. It's been a long day.
• 3:03
  Speaker 6: I just got back from a trip to Germany. I
• 3:06
  Speaker 6: was at a ballet school.
• 3:08
  Speaker 4: Saw some things. I saw some things. Yeah.
• 3:12
  Speaker 5: The thing is, Amanda, I mean, look at her. I
• 3:16
  Speaker 5: can believe it. You believe it. If you don't know
• 3:18
  Speaker 5: Amanda Janik, you're like.
• 3:19
  Speaker 1: Oh, yeah, she's, yeah, I get it. She's a dancer, right?
• 3:22
  Speaker 1: She's got the look. Yep.
• 3:23
  Speaker 4: No, no, no, no, no, no. The only things I
• 3:27
  Speaker 4: do on my tiptoes is get midnight snacks.
• 3:30
  Speaker 1: So I hope you didn't kill any bats while you
• 3:33
  Speaker 1: were over there.
• 3:34
  Speaker 4: No, no, no, no. Saw some maggots, but that's about it.
• 3:37
  Speaker 1: Okay. We're going to talk about maggots. But before we
• 3:40
  Speaker 1: get there, I really wanted to ask you about your
• 3:45
  Speaker 1: connection with tonight's movie, Suspiria. Amanda, where does Suspiria fit
• 3:51
  Speaker 1: into your heroine?
• 3:53
  Speaker 6: This is just one of those weird movies that's always
• 3:55
  Speaker 6: been there. Like, I can't pinpoint the beginning. I can't
• 3:58
  Speaker 6: pinpoint the first time I saw it. It's not a
• 4:01
  Speaker 6: movie that I revisited a lot. So watching it for
• 4:03
  Speaker 6: the show, it was, I don't want to say new
• 4:05
  Speaker 6: to me, but watching it through a different lens, that's
• 4:08
  Speaker 6: for sure. But it's just one of those things that's
• 4:10
  Speaker 6: always been in the pantheon of you know, horror movies,
• 4:13
  Speaker 6: the VHS cover at Blockbuster or your local video store
• 4:17
  Speaker 6: showing a lot late at night on Saturday nights and stuff.
• 4:19
  Speaker 4: And one of those movies, you just make fun of
• 4:21
  Speaker 4: the dubbing with your friends.
• 4:22
  Speaker 1: And, you know, I think that was the most off-putting
• 4:25
  Speaker 1: thing to me was the dubbing.
• 4:27
  Speaker 4: And it's not even that bad.
• 4:28
  Speaker 1: It's not.
• 4:29
  Speaker 5: I mean, when you think about the fact that they're
• 4:31
  Speaker 5: filming with no sound, like there's no audio going on.
• 4:34
  Speaker 5: Some of the actors, they've talked about this in interviews.
• 4:36
  Speaker 5: It's just weird. You're trying to deliver your dialogue. And
• 4:39
  Speaker 5: then there's like a carpenter banging away with a hammer
• 4:41
  Speaker 5: on a set like next door in the other soundstage.
• 4:44
  Speaker 1: And how is this possible?
• 4:45
  Speaker 5: I mean, it's weird, but it works.
• 4:48
  Speaker 1: You know, what I heard is that they bring all
• 4:51
  Speaker 1: the actors in. And I don't think it's necessarily particular
• 4:55
  Speaker 1: to Suspiria, but maybe the way in which Italian films
• 4:58
  Speaker 1: were being made. So you could be a German actor.
• 5:02
  Speaker 1: You could be an American actor. You could be a
• 5:05
  Speaker 1: French actor. You all get together. And you're going to
• 5:07
  Speaker 1: say your lines in your native language. And they're just
• 5:11
  Speaker 1: going to redub everything over. Sometimes I would have rather
• 5:14
  Speaker 1: had the original person maybe speak their lines and dub them.
• 5:19
  Speaker 5: Seeing Udokir talk, but not hearing Udokir was unsettling.
• 5:23
  Speaker 1: It's very weird. It's just weird, you know? Jeff, was
• 5:25
  Speaker 1: this your first time watching Suspiria?
• 5:27
  Speaker 5: Oh, absolutely not, Chuck. If I could kind of answer
• 5:30
  Speaker 5: the question you gave Amanda, for any horror fan watching,
• 5:34
  Speaker 5: This is one of those movies that's just like it's
• 5:35
  Speaker 5: required reading because it's fantastic. I don't have it in
• 5:39
  Speaker 5: my collection and there's not like Suspiria six, seven, eight, nine.
• 5:43
  Speaker 5: And it didn't spawn a franchise, but it has its
• 5:46
  Speaker 5: place in the hallowed halls of horror. If you're a
• 5:49
  Speaker 5: horror fan and you've never seen this film, you are
• 5:52
  Speaker 5: missing out on some incredible cinematography and some incredible storytelling.
• 5:56
  Speaker 4: Well, it is part of the trilogy, though.
• 5:57
  Speaker 1: It is, yeah.
• 5:58
  Speaker 5: It is part of the, what is it, the Three
• 6:00
  Speaker 5: Mothers trilogy?
• 6:01
  Speaker 4: The Mother trilogy, yeah.
• 6:02
  Speaker 5: Yeah.
• 6:03
  Speaker 1: But it was just recently that they tried to do
• 6:05
  Speaker 1: a remake. Yeah, 2018.
• 6:07
  Speaker 5: Yeah, it didn't go that well, but that says something.
• 6:10
  Speaker 1: This viewing was my first viewing. I had absolutely no
• 6:15
  Speaker 1: idea what to expect. Everything was completely new to me,
• 6:19
  Speaker 1: and I have to be honest, I had to watch
• 6:22
  Speaker 1: it twice.
• 6:23
  Speaker 5: You know, the funny thing here, Chuck, is that This
• 6:25
  Speaker 5: is Amanda's first time on the Cinematic Flashback podcast. We're
• 6:29
  Speaker 5: talking about a scary film that deals very much with witches.
• 6:33
  Speaker 1: Fun fact.
• 6:34
  Speaker 5: The very first time she shows up on a Film
• 6:36
  Speaker 5: By podcast happened to be a film from 1996 called
• 6:40
  Speaker 5: The Craft talking about witches.
• 6:42
  Speaker 2: Really?
• 6:42
  Speaker 5: So it's not her niche, but she does a damn
• 6:45
  Speaker 5: good job talking about it.
• 6:46
  Speaker 1: So I got to hand it to her. I was
• 6:48
  Speaker 1: trying to think of other movies with witches in it.
• 6:51
  Speaker 1: I was thinking The Blair Witch Project. There was that movie.
• 6:55
  Speaker 1: Was it The Witch? The Witches. And then there's Witch.
• 6:57
  Speaker 5: Yeah.
• 6:58
  Speaker 1: With Anya Taylor.
• 6:58
  Speaker 5: Yeah.
• 6:59
  Speaker 1: And then there's Hocus Pocus, of course.
• 7:00
  Speaker 6: And The Wizard of Oz, which is the scariest movie
• 7:03
  Speaker 6: ever made, in my opinion.
• 7:05
  Speaker 1: I'm telling you, flying monkeys still get me to this day.
• 7:09
  Speaker 4: Nothing about it. Don't like anything about it.
• 7:11
  Speaker 1: I thought it'd be fun to cold call Jason Colvin
• 7:14
  Speaker 1: and have you guys explain to him what Suspiria is about.
• 7:20
  Speaker 1: If someone had never seen it, what's the one thing
• 7:22
  Speaker 1: that you would tell them that they would need to
• 7:25
  Speaker 1: expect without actually spoiling the movie visuals?
• 7:28
  Speaker 6: That's a good question. Like I just compared to this
• 7:31
  Speaker 6: movie to like a chaotic stained glass window. Colors everywhere.
• 7:36
  Speaker 1: It's a fever dream.
• 7:37
  Speaker 4: Fever dream. Exactly.
• 7:38
  Speaker 1: I thought fever dream. I thought, oh, what was it?
• 7:42
  Speaker 1: Do you remember how when you used to read the
• 7:45
  Speaker 1: Grimm's fairy tales when you were a kid and And
• 7:47
  Speaker 1: I was like, oh, this is so nice. But then
• 7:49
  Speaker 1: as an adult, you find out that these stories were
• 7:52
  Speaker 1: actually a lot more sanitized. Absolutely. That's what Suspiria reminds
• 7:56
  Speaker 1: me of.
• 7:56
  Speaker 5: What works really good with this film is that from
• 8:00
  Speaker 5: start to finish, because you're along for the ride, right?
• 8:03
  Speaker 5: But you have to wonder, is it actually happening? Or
• 8:06
  Speaker 5: is it someone hallucinating? Is it someone waking up from
• 8:09
  Speaker 5: a nightmare? That goes back to the cinematic choices that
• 8:12
  Speaker 5: he made, the way he shot this, the color grading,
• 8:15
  Speaker 5: the music.
• 8:16
  Speaker 1: By Goblin. There's so many reasons why. Colvin, you got
• 8:20
  Speaker 1: to watch it.
• 8:21
  Speaker 6: You have to imagine that this is probably, no, I
• 8:24
  Speaker 6: wouldn't know. I have no experience as a clean team.
• 8:27
  Speaker 4: Mr. T and Nancy Reagan taught me just say no,
• 8:29
  Speaker 4: but like LSD.
• 8:31
  Speaker 2: Yes.
• 8:31
  Speaker 4: This is probably what people on LSD saw.
• 8:34
  Speaker 1: Timothy Leary approves this film. If you're high on peyote,
• 8:37
  Speaker 1: you're going to dig this one.
• 8:38
  Speaker 4: Have I got a film for you.
• 8:42
  Speaker 1: This is the section where we move in to talking
• 8:44
  Speaker 1: about how this film actually came to happen. And normally,
• 8:49
  Speaker 1: because I'm covering 70s films, usually I start maybe a
• 8:54
  Speaker 1: few years prior to the movie itself. And at the most,
• 8:59
  Speaker 1: maybe it's usually a decade. But for Suspiria, I actually
• 9:03
  Speaker 1: have to go 132 years in the past. And the
• 9:07
  Speaker 1: story begins with this English writer named Thomas De Quincey. Now, Amanda,
• 9:12
  Speaker 1: had you ever heard the story of De Quincey in
• 9:16
  Speaker 1: his book, Suspiria De Profundis?
• 9:18
  Speaker 4: I did not.
• 9:19
  Speaker 1: Well, let me tell you, De Quincey is probably best
• 9:23
  Speaker 1: known for a book with the wonderfully direct title of
• 9:28
  Speaker 1: Confessions of an English Opium Eater. And if the title
• 9:32
  Speaker 1: didn't give it away, the man liked his opium. Yeah.
• 9:37
  Speaker 1: And in 1845, he publishes what's called the Suspiria de Profundis,
• 9:42
  Speaker 1: which roughly translates as Sighs from the Depths. And one
• 9:46
  Speaker 1: of the chapters is called Levana and Our Ladies of Sorrow,
• 9:51
  Speaker 1: which imagines these three mysterious women. They had Our Lady
• 9:54
  Speaker 1: of Tears, Our Lady of Sighs, and Our Lady of Darkness.
• 9:58
  Speaker 1: So now we need to lead. Thomas alone. because we
• 10:01
  Speaker 1: need to talk about Dario Argento. Argento takes a path
• 10:05
  Speaker 1: into directing that we've talked about before on Cinematic Flashback
• 10:09
  Speaker 1: with Peter Bogdanovich. He started off as a film critic
• 10:13
  Speaker 1: and then he moves into screenwriting. And then in 1970,
• 10:17
  Speaker 1: he made his directorial debut with a film called The
• 10:21
  Speaker 1: Bird with the Crystal Plumage and became one of the
• 10:24
  Speaker 1: filmmakers most closely associated with giallo. Amanda, what can you
• 10:29
  Speaker 1: tell me about giallo?
• 10:30
  Speaker 6: Well, I can tell you that I, until about two
• 10:33
  Speaker 6: days ago, thought it meant red.
• 10:35
  Speaker 4: That's just what I thought.
• 10:37
  Speaker 6: I always thought giallo films were peppered with red everywhere,
• 10:40
  Speaker 6: red lighting, the blood, you know, whatever.
• 10:43
  Speaker 4: But fun fact, it's yellow in Italian.
• 10:46
  Speaker 6: And I took Italian for one semester in high school,
• 10:50
  Speaker 6: so that didn't pay off too well. But the name
• 10:54
  Speaker 6: Giallo actually comes from Italian mystery novels that traditionally had
• 10:58
  Speaker 6: yellow covers to them, which I think is interesting.
• 11:01
  Speaker 4: Giallo is a specific type of.
• 11:03
  Speaker 6: Italian style of a murder mystery or thriller often associated
• 11:08
  Speaker 6: with horror. So people often think that all Italian horror
• 11:12
  Speaker 6: is giallo, but it's not. If you think of a
• 11:15
  Speaker 6: Venn diagram, you know, those two circles that connect, you know,
• 11:18
  Speaker 6: you've got Italian horror, you've got giallo, and there's a
• 11:21
  Speaker 6: mix of them in the middle, but they're not mutually exclusive. Giallo,
• 11:25
  Speaker 6: the typical elements you're going to see in that is
• 11:26
  Speaker 6: a nasty, form mysterious killer see elaborate murders you're going
• 11:31
  Speaker 6: to see mystery and investigation stylized violence and bold visuals
• 11:38
  Speaker 6: and music which on the surface of things Suspiria hits
• 11:43
  Speaker 6: four out of five of those so a lot of
• 11:45
  Speaker 6: people tend to think of it as a giallo but
• 11:47
  Speaker 6: it's technically not because we're dealing with supernatural elements. And
• 11:52
  Speaker 6: giallo films tend to have more serial killers. They have
• 11:55
  Speaker 6: more in common with slasher than they have in common
• 11:57
  Speaker 6: with this movie.
• 11:58
  Speaker 1: Okay. Argento became one of the directors that is most
• 12:02
  Speaker 1: associated with that style. And in 1975, he made a
• 12:07
  Speaker 1: film called Deep Red. That's where he begins both a
• 12:10
  Speaker 1: creative and a romantic partnership with actress Daria Nicolodi, who
• 12:15
  Speaker 1: will co-write Suspiria with him. Also on Deep Red, Argento
• 12:19
  Speaker 1: worked with the progressive rock band Goblin to score his picture.
• 12:23
  Speaker 1: So when they started developing Suspiria, they wanted to bring
• 12:27
  Speaker 1: Goblin back. Now we have all the pieces of Suspiria.
• 12:31
  Speaker 1: Thomas De Quincey gave us the story idea. Argento takes
• 12:34
  Speaker 1: the style he developed making Giallo films. Nickelodeon helps him
• 12:38
  Speaker 1: develop this supernatural story. Goblin provides that absolutely insane score.
• 12:44
  Speaker 1: And in 1977, all of it comes together. And that
• 12:48
  Speaker 1: is how Suspiria happened. As we get ready to get
• 12:52
  Speaker 1: into the production details and meet the cast of Suspiria,
• 12:55
  Speaker 1: we're going to need to step away for a quick break.
• 12:58
  Speaker 1: We'll be right back. It's a cinematic flashback.
• 13:01
  Speaker 2: Let the show begin.
• 13:06
  Speaker 1: It's a cinematic flashback. Let the show begin.
• 13:09
  Speaker 3: Here we are.
• 13:13
  Speaker 2: Come on.
• 13:16
  Speaker 5: In.
• 13:21
  Speaker 2: You can hide from Suspiria. But you cannot escape. Suspiria.
• 13:36
  Speaker 1: Welcome back. Let's talk about this cast. Let's start with
• 13:39
  Speaker 1: Jessica Harper as Susie Banyan.
• 13:42
  Speaker 5: Argento handpicks her after he sees De Palma's film Phantom
• 13:46
  Speaker 5: of the Paradise.
• 13:47
  Speaker 1: Have either of you seen that one? That was on
• 13:50
  Speaker 1: the list for season two, and it got bumped.
• 13:52
  Speaker 5: Oh, don't bump it for season three. We got to
• 13:55
  Speaker 5: talk Phantom of the Paradise. She plays this alluring singer
• 13:59
  Speaker 5: named Phoenix, and she's kind of like the muse of
• 14:02
  Speaker 5: the story. I don't want to spoil anything. You guys
• 14:05
  Speaker 5: both have not seen it. It is a freaky Brian
• 14:07
  Speaker 5: De Palma film. And based off of what Amanda, our
• 14:11
  Speaker 5: variant slasher girl, has told us about Giallo, Phantom of
• 14:14
  Speaker 5: the Paradise really checks most of the boxes that she
• 14:17
  Speaker 5: was giving us. I strongly recommend it, but that's where
• 14:19
  Speaker 5: she comes from. And oh, by the way, she has
• 14:22
  Speaker 5: a part in Annie Hall and she turns it down
• 14:24
  Speaker 5: to work for Argento. Wow. Hey, look, I mean, my
• 14:27
  Speaker 5: feelings on Woody Allen are not a secret. So Harper,
• 14:31
  Speaker 5: excellent work here making that choice.
• 14:33
  Speaker 1: I did pull up a scene from Phantom of the
• 14:36
  Speaker 1: Paradise to hear her sing. Old love is an old love, baby.
• 15:00
  Speaker 1: And I hope that that is her singing voice because
• 15:02
  Speaker 1: she was amazing. The movie's awesome, man. The movie's absolutely awesome. Later,
• 15:06
  Speaker 1: she appeared in Woody Allen's Love and Death. She eventually
• 15:08
  Speaker 1: did work with him, but Annie Hall, that was a
• 15:12
  Speaker 1: pretty big picture in 1977.
• 15:15
  Speaker 5: I'm not going to say it's not a well-known classic,
• 15:18
  Speaker 5: but I feel like she makes the choice to take
• 15:20
  Speaker 5: the lead in an iconic Italian horror film that we're
• 15:24
  Speaker 5: still talking about all these years later. And who's to
• 15:27
  Speaker 5: say that we're talking about her if she doesn't do
• 15:29
  Speaker 5: that and she was just a day player in Annie Hall?
• 15:33
  Speaker 1: What did you think of the character of Susie?
• 15:36
  Speaker 6: I thought she was pretty strong, actually. Stronger than I remembered. Again,
• 15:39
  Speaker 6: it's hard sometimes to watch these Italian horror movies. I've
• 15:43
  Speaker 6: got some favorites. I've got some that aren't my favorites.
• 15:46
  Speaker 6: The dubbing can really distract me. You guys, like my brain,
• 15:49
  Speaker 6: it's literally like flies that are flying around my head
• 15:52
  Speaker 6: all the time. And I have a really hard time concentrating.
• 15:54
  Speaker 6: One of the things I love about this movie is
• 15:56
  Speaker 6: I had to read the subtitles, you know, and I
• 15:58
  Speaker 6: didn't feel bad about it. I did not feel bad
• 16:00
  Speaker 6: about it.
• 16:02
  Speaker 1: It's almost required.
• 16:03
  Speaker 6: Yeah, I thought she actually did a really good job
• 16:05
  Speaker 6: as an Italian heroine. Like, because there's some bad ones
• 16:09
  Speaker 6: out there, you know, that are overly dramatic and whatnot.
• 16:13
  Speaker 4: I thought the character did fine. Was it a little
• 16:16
  Speaker 4: much sometimes? Yeah, yeah. But that's Italian horror.
• 16:18
  Speaker 5: I think when you look at the archetype of her character,
• 16:23
  Speaker 5: she's not the damsel in distress.
• 16:24
  Speaker 2: Nope.
• 16:25
  Speaker 5: And I know Chuck will probably talk about this a
• 16:27
  Speaker 5: little bit later about how naive all of these dancers
• 16:32
  Speaker 5: appear to be or seem to.
• 16:33
  Speaker 1: Be the way they speak.
• 16:34
  Speaker 4: There's a reason for that, though.
• 16:36
  Speaker 1: There's a reason. Yeah, there's a reason.
• 16:38
  Speaker 5: But I feel like she's she's very headstrong. She's trying
• 16:42
  Speaker 5: to figure out what's going on. She's trying to figure
• 16:44
  Speaker 5: out what's wrong. And she's not backing away from it. No.
• 16:46
  Speaker 6: So I was in on day two, day two, you know,
• 16:49
  Speaker 6: after being turned away in the rainstorm, you know, and
• 16:52
  Speaker 6: is already asking questions.
• 16:53
  Speaker 4: So, yeah, strong character.
• 16:55
  Speaker 5: Yeah.
• 16:56
  Speaker 1: Like Susie. I do want to give a shout out
• 16:58
  Speaker 1: here to Matt, who would probably say that if you
• 17:01
  Speaker 1: go to a place and it's pouring down rain and
• 17:04
  Speaker 1: someone comes running out and someone on the speaker says,
• 17:07
  Speaker 1: I have no idea who you are. That's your sign
• 17:10
  Speaker 1: that you just need to turn around, get back on
• 17:12
  Speaker 1: the plane, go home. See, I don't know about that, Chuck.
• 17:16
  Speaker 5: I'm the type of guy when I'm told the park
• 17:19
  Speaker 5: is closed, I punch the animatronic moose and And I
• 17:24
  Speaker 5: take the security guard hostage and I'm going in. So
• 17:30
  Speaker 5: I'm pro Susie here, man. Susie was great. What do
• 17:33
  Speaker 5: we think about her friend, Sarah? Stephanie Cassini. And I
• 17:37
  Speaker 5: don't have much about her, but I didn't want to
• 17:40
  Speaker 5: give her a short shift. I think she's doing the
• 17:43
  Speaker 5: most with what she's got here. And maybe that's the
• 17:47
  Speaker 5: nicest thing. That's the nicest way I can put it. Okay.
• 17:50
  Speaker 1: Yeah, a lot of the actors in this movie are
• 17:52
  Speaker 1: kind of like that.
• 17:53
  Speaker 5: Yeah.
• 17:54
  Speaker 1: Except for Joan Bennett as Madame Blanc or Blanc, depending
• 17:59
  Speaker 1: on how you want to say it.
• 18:00
  Speaker 4: Blanc. Four years of French and I can assure you
• 18:02
  Speaker 4: that that's Blanc.
• 18:03
  Speaker 1: That's Blanc. Well, you know, Bennett was a Hollywood veteran
• 18:08
  Speaker 1: actress whose career stretched all the way back to the
• 18:11
  Speaker 1: silent era. She was pretty much hot stuff. And she
• 18:14
  Speaker 1: became especially known for her film work with director Fritz Lang,
• 18:18
  Speaker 1: including The Women in the Window and Scarlet Streets. I
• 18:21
  Speaker 1: first remember her from this little gothic horror television show
• 18:26
  Speaker 1: called Dark Shadows. Do you remember this show?
• 18:29
  Speaker 4: Really?
• 18:30
  Speaker 1: With Barnabas? Okay, yeah. Like the soap. It was like
• 18:34
  Speaker 1: a soap opera.
• 18:35
  Speaker 4: It was a soap opera.
• 18:36
  Speaker 1: Yeah. Vampire soap opera.
• 18:38
  Speaker 5: Yep. She looked familiar. And I just didn't put the
• 18:42
  Speaker 5: pieces together.
• 18:43
  Speaker 1: That's another one of those shows where it's like I
• 18:45
  Speaker 1: started watching it and I wasn't really too into it
• 18:48
  Speaker 1: until I got into it. Yeah.
• 18:50
  Speaker 6: Yeah.
• 18:51
  Speaker 1: And I think that's how all soap operas tend to be.
• 18:54
  Speaker 1: They get you. Next, we have Miss Tanner, played by
• 18:58
  Speaker 1: Alita Valli. Valli was probably the second biggest name in
• 19:03
  Speaker 1: the film. She was a major star in European cinema,
• 19:07
  Speaker 1: but she was best known from the movie The Third Man,
• 19:10
  Speaker 1: playing opposite of Orson Welles. When producer David O. Selznick
• 19:14
  Speaker 1: brought her into Hollywood, he thought she'd be the next
• 19:16
  Speaker 1: Ingrid Berman.
• 19:17
  Speaker 2: No.
• 19:18
  Speaker 1: Really, the only other actors that I wanted to mention,
• 19:22
  Speaker 1: because these are so small. Do you remember Professor Vertigast? Yes.
• 19:27
  Speaker 1: He was the professor slash doctor. Not really that kind
• 19:32
  Speaker 1: of doctor. Or is he a professor?
• 19:34
  Speaker 2: No.
• 19:35
  Speaker 1: Is he a PhD or is he a, I don't know,
• 19:37
  Speaker 1: is he an MD?
• 19:38
  Speaker 5: PhD.
• 19:39
  Speaker 1: He was played by Renato Scarpa, and he was the
• 19:41
  Speaker 1: inspector in one of my favorite films called Don't Look Now.
• 19:44
  Speaker 1: And Amanda, if you haven't seen Don't Look Now, you
• 19:47
  Speaker 1: need to watch Don't Look Now.
• 19:49
  Speaker 3: Oh, well.
• 19:50
  Speaker 4: I'm in.
• 19:50
  Speaker 1: You mentioned Udekir earlier. Yeah. Do you remember him from
• 19:54
  Speaker 1: other films?
• 19:55
  Speaker 5: Without shame, I'll say the first time I remember seeing
• 19:57
  Speaker 5: him in a movie was Ace Ventura, Pet Detective.
• 20:00
  Speaker 2: Tom Ace, pleasure to meet you, Mr.
• 20:03
  Speaker 5: Kemp.
• 20:03
  Speaker 1: And congratulations on all your success. You smell terrific. I'm
• 20:08
  Speaker 1: so sorry, Mr.
• 20:09
  Speaker 6: Ace.
• 20:10
  Speaker 1: Along with Dr. Frank, played by Udo, was Professor Milius.
• 20:15
  Speaker 1: That was Rudolf Schindler. If you saw the movie The Exorcist.
• 20:21
  Speaker 5: Oh, yeah.
• 20:21
  Speaker 1: He was Karl Engstrom.
• 20:23
  Speaker 2: Was it public relations you did for the Gestapo or
• 20:26
  Speaker 2: community relations?
• 20:28
  Speaker 1: Yes, of course. Before we get into this movie, we're
• 20:33
  Speaker 1: going to make a stop over here at mom and
• 20:34
  Speaker 1: pop's video store. So before somebody grabs it, could you
• 20:38
  Speaker 1: pick it up, flip it over and read the back
• 20:41
  Speaker 1: of the box and tell us what this film is about?
• 20:44
  Speaker 1: I'll say first, I can't hold a candle to Matt Sargent.
• 20:48
  Speaker 1: I love when he does this, but I'm also going
• 20:50
  Speaker 1: to point out how wonderful it is to see one
• 20:52
  Speaker 1: of these classic clamshell VHS cassettes. That's not a Disney film. Yes.
• 20:57
  Speaker 5: Reading the back of the box, Chuck. Psycho meets The
• 21:01
  Speaker 5: Exorcist with no holds barred. A genuinely scary thriller with
• 21:06
  Speaker 5: gaudy visuals and a screaming soundtrack. A pyrotechnic display for
• 21:11
  Speaker 5: those who can take it. Thunderstorms, explicit murders, a room
• 21:15
  Speaker 5: full of maggots. What is the horrifying secret of the
• 21:18
  Speaker 5: ballet school? Suspiria has a gothic ghoulishness that makes other
• 21:22
  Speaker 5: tales of terror look anemic. Suspiria, starring Jessica Harper and
• 21:27
  Speaker 5: Stefania Cassini. Directed and written by Dario Argento.
• 21:31
  Speaker 1: I need you to take that one up to the
• 21:34
  Speaker 1: counter and get this one rented because Amanda is popping
• 21:37
  Speaker 1: the popcorn back at the place. While you're doing that,
• 21:41
  Speaker 1: we're going to take a quick break and then we'll
• 21:43
  Speaker 1: be right back. Sunday on All in the Family.
• 21:53
  Speaker 6: I love you, Daddy.
• 21:57
  Speaker 1: I love you, Mom. Have a good trip. The Stivics
• 22:00
  Speaker 1: move to California.
• 22:03
  Speaker 3: Then on Alice, Jerry Reed visits Mel's diner and is
• 22:06
  Speaker 3: he sorry? Then on the Carol Burnett Show, Bernadette Peters
• 22:12
  Speaker 3: and Steve Lawrence join regulars Tim Conway and Vicki Lawrence
• 22:15
  Speaker 3: as you never know what's coming up. Be watching Sunday
• 22:18
  Speaker 3: at 9, 8 Central and Mountain.
• 22:30
  Speaker 4: What would you like to know?
• 22:32
  Speaker 5: Do you believe in the existence of witches?
• 22:35
  Speaker 6: I have known some women who are said to be witches. Really?
• 22:40
  Speaker 5: I've studied the phenomenon for a long time.
• 22:43
  Speaker 2: I'm of the opinion that it is an important appendage
• 22:46
  Speaker 2: of contemporary psychiatry. You're skeptical, my dear.
• 22:51
  Speaker 1: Well, love, Frankly, it is a little hard to believe.
• 22:54
  Speaker 1: Welcome back. From here on out, we're going to get
• 22:57
  Speaker 1: into our thoughts on Suspiria. And that means there's going
• 23:01
  Speaker 1: to be spoilers. So if you haven't seen the movie yet,
• 23:04
  Speaker 1: this is your chance to hit pause. And the good
• 23:07
  Speaker 1: news is you can currently watch it free on Tubi.
• 23:10
  Speaker 1: It's also available to rent at all the usual locations.
• 23:14
  Speaker 1: So go and spend 99 minutes at a German dance academy.
• 23:19
  Speaker 1: where absolutely nothing suspicious is happening, and then come on
• 23:23
  Speaker 1: back and join us. All right, let's talk about how
• 23:26
  Speaker 1: this film opens. Where do we want to begin with this?
• 23:30
  Speaker 4: It's fascinating, man. I just rewatched it like a half
• 23:33
  Speaker 4: hour before we recorded.
• 23:35
  Speaker 6: And I have to say, I think my favorite part
• 23:37
  Speaker 6: is when her friend is banging on the door and
• 23:39
  Speaker 6: just screaming, there's a murder. I don't know why it
• 23:42
  Speaker 6: just tickles me so much because she has no idea
• 23:44
  Speaker 6: what's going on in there. She just started screaming. Like,
• 23:48
  Speaker 6: it baffles me. I enjoy it immensely. I don't know why,
• 23:52
  Speaker 6: but that's just the beginning of that scene. And the
• 23:54
  Speaker 6: amazing thing is that starts at 11 minutes and 30
• 23:57
  Speaker 6: seconds into the film.
• 23:58
  Speaker 1: Well, I like whenever she's walking out of the airport.
• 24:01
  Speaker 1: Did you guys notice that every time the doors would open,
• 24:05
  Speaker 1: Goblin would play?
• 24:06
  Speaker 4: Yes.
• 24:07
  Speaker 5: You know, it's like the doors open, the doors close.
• 24:09
  Speaker 5: And like Goblin is in and out. And I'm thinking,
• 24:12
  Speaker 5: is this something wrong with the is it my soundbar? No,
• 24:15
  Speaker 5: it's it's an informed decision by Argento.
• 24:18
  Speaker 2: And it.
• 24:18
  Speaker 5: It just, it creates this creepy ambiance where you're like,
• 24:21
  Speaker 5: she's safe where she's at. She's inside the airport.
• 24:24
  Speaker 4: Yep, the airport is safe.
• 24:26
  Speaker 5: Yeah, she's fresh from New York. You're going to walk
• 24:28
  Speaker 5: into this. If you walk out those doors, you're walking
• 24:30
  Speaker 5: into a different world, a dangerous world.
• 24:32
  Speaker 1: And it's such a subtle thing, but I love that
• 24:35
  Speaker 1: they did that. You know, the soundtrack by Goblin, I
• 24:37
  Speaker 1: don't want to skip over this. They have this one
• 24:40
  Speaker 1: theme that almost sounds like a music box and it
• 24:43
  Speaker 1: gets played over and over again. And underneath that, you
• 24:48
  Speaker 1: have all this vocalization.
• 24:49
  Speaker 5: Which, yeah, it's one of those things where it's like
• 24:52
  Speaker 5: he's revealing the end without revealing it. Because a lot
• 24:56
  Speaker 5: of this, when you listen to it, it's gibberish. You know,
• 24:59
  Speaker 5: the singer, the band, they're just making sounds with their mouths.
• 25:03
  Speaker 1: It is so disturbing to me.
• 25:05
  Speaker 4: Right.
• 25:06
  Speaker 1: I love the theme song to this film. John Carpenter
• 25:09
  Speaker 1: also loved the music. And if you noticed from his
• 25:13
  Speaker 1: movie Halloween, how very simple the music is. He took
• 25:18
  Speaker 1: a lot of inspiration from Goblin's music in Suspiria. The
• 25:23
  Speaker 1: opening segment is like the first 14 minutes of the film.
• 25:27
  Speaker 1: There is the character of Pat Hingle who is leaving
• 25:32
  Speaker 1: the ballet academy. Why are you smiling, Jeff? I'm sorry?
• 25:36
  Speaker 1: You're thinking Batman, aren't you? You can't. I mean, I
• 25:38
  Speaker 1: get it.
• 25:38
  Speaker 5: Her name is Pat Hingle, but couldn't we have called
• 25:40
  Speaker 5: her Patty or Patricia? Because I hear Pat Hingle and
• 25:43
  Speaker 5: it's not even Commissioner Gordon that I'm seeing. It It's
• 25:46
  Speaker 5: Bubba from Maximum Overdrive from 1986. It's just like, I'm
• 25:51
  Speaker 5: seeing Pat Hingle, the actor. Not this stunning young woman
• 25:54
  Speaker 5: who flees in terror out of the school.
• 25:57
  Speaker 1: That's right. Every time I'm saying this, I'm like, at
• 25:59
  Speaker 1: some point, he's going to make this connection. Chuck, you're
• 26:01
  Speaker 1: in charge here, not Carl Grissom. Oh, have you ever
• 26:07
  Speaker 1: been creeped out looking outside of a window? I think
• 26:10
  Speaker 1: we talked about that in Deadly Blessing. I think it's
• 26:14
  Speaker 1: just from like even childhood.
• 26:15
  Speaker 5: When you see something like if there's a shape outside
• 26:19
  Speaker 5: your window, you know, if there's wind or there's a
• 26:22
  Speaker 5: storm or the moonlight's making you play tricks on your mind,
• 26:25
  Speaker 5: it's scary. And just to see this, we know it's clothing,
• 26:29
  Speaker 5: but it's also kind of billowing and it looks, it
• 26:31
  Speaker 5: just looks a little threatening.
• 26:33
  Speaker 1: Amanda, this arm, this arm that comes in uh-huh grabs
• 26:37
  Speaker 1: her face and starts mashing it into the.
• 26:40
  Speaker 6: Glass into the glass and through the glass and it
• 26:42
  Speaker 6: doesn't cut her face.
• 26:43
  Speaker 1: Well, it doesn't or does... No, it doesn't.
• 26:46
  Speaker 4: It doesn't.
• 26:47
  Speaker 5: He's like mashing her up against the pain as he's
• 26:49
  Speaker 5: trying to snatch her.
• 26:50
  Speaker 6: And then when he breaks her head through it, there's
• 26:52
  Speaker 6: like a weird shot of her face. And it doesn't...
• 26:55
  Speaker 6: It wasn't cut at all, which I thought was interesting
• 26:57
  Speaker 6: because he uses every opportunity for blood. And I feel
• 27:01
  Speaker 6: like that was a little missed one. But I also
• 27:02
  Speaker 6: think it was trying to play church with you a
• 27:04
  Speaker 6: little bit. Is this really happening or is it not happening?
• 27:06
  Speaker 6: Because the eyes, the animal eyes.
• 27:09
  Speaker 4: For those really there.
• 27:10
  Speaker 1: Because I'm like, please don't look out there. I'm seeing
• 27:15
  Speaker 1: that big arm with the black nails, and I keep
• 27:17
  Speaker 1: thinking to myself, I'm going to know who the killer is.
• 27:20
  Speaker 1: I'm going to look for whoever the biggest person is
• 27:22
  Speaker 1: in the film. And that's going to be the person.
• 27:25
  Speaker 1: So once Pavlos came on, I thought, ah, he's got
• 27:29
  Speaker 1: to be that person. And it sets up this kill.
• 27:32
  Speaker 1: This is probably one of my favorite opening kills of
• 27:34
  Speaker 1: a film. And I might put it right there with
• 27:37
  Speaker 1: the opening to Halloween, which is like my favorite all
• 27:40
  Speaker 1: time kill.
• 27:41
  Speaker 5: Horror film well you're not wrong chuck because it is
• 27:45
  Speaker 5: absolutely animalistic in its violence yeah remember this is a
• 27:49
  Speaker 5: it's all about this this school of ballet and there's
• 27:51
  Speaker 5: a bit of a ballet like her death is kind
• 27:54
  Speaker 5: of operatic it's not that he just brutally stabs her
• 27:58
  Speaker 5: multiple times it's not that he hangs her it's that
• 28:02
  Speaker 5: he does all that and then throws her skylight yeah
• 28:05
  Speaker 5: i think this is probably the greatest horror film murder
• 28:10
  Speaker 5: especially for an opening 10 12 minutes since when scream
• 28:13
  Speaker 5: came out and we saw drew baron oh yeah get
• 28:16
  Speaker 5: gutted i think that's the first time where i was
• 28:18
  Speaker 5: like you know what they're giving suspiria run for.
• 28:20
  Speaker 1: The money interesting well the piece there is his stones
• 28:22
  Speaker 1: yeah was that that was a twofer yeah that's a
• 28:24
  Speaker 1: twofer her friends like watching it all happen she gets
• 28:27
  Speaker 1: taken out by a couple shards oh that was just
• 28:29
  Speaker 1: horrific So next, let's talk about life inside the academy.
• 28:34
  Speaker 1: Should you have just turned around and gone home at
• 28:36
  Speaker 1: this point?
• 28:36
  Speaker 4: After the maggots. If anything was going to send me
• 28:39
  Speaker 4: over the edge as well.
• 28:40
  Speaker 1: I didn't understand the maggots.
• 28:42
  Speaker 4: I didn't either.
• 28:43
  Speaker 1: Other than the fact that it was gross.
• 28:45
  Speaker 5: So it's shock factor, right?
• 28:46
  Speaker 6: Visual.
• 28:47
  Speaker 4: It's just a visual element.
• 28:48
  Speaker 1: Right.
• 28:49
  Speaker 5: But the thing that has me scratching my head, okay,
• 28:51
  Speaker 5: it's a shipment of food. So why did we take
• 28:54
  Speaker 5: the shipment of food and store it in the attic
• 28:56
  Speaker 5: and not the kitchen or the basement?
• 28:59
  Speaker 1: What are we doing here? Come on, Madame Blanc. What's
• 29:01
  Speaker 1: going on? They had a very reputable person. We felt
• 29:04
  Speaker 1: that they were giving really good quality.
• 29:06
  Speaker 6: When I texted you guys when I was watching it yesterday, again,
• 29:09
  Speaker 6: I think it was yesterday, and I totally forgot about
• 29:12
  Speaker 6: that scene, man.
• 29:13
  Speaker 4: I don't even think I can talk about it.
• 29:15
  Speaker 1: Amanda, I got to ask you real quick.
• 29:16
  Speaker 5: Yeah. The maggots in Suspiria versus the maggots in The
• 29:20
  Speaker 5: Lost Boys.
• 29:22
  Speaker 1: Which maggots win?
• 29:23
  Speaker 5: Maggots, Michael.
• 29:24
  Speaker 1: You're eating maggots.
• 29:25
  Speaker 2: How do they taste?
• 29:26
  Speaker 6: I think the maggots and the spears got me more
• 29:28
  Speaker 6: mad because I've been to Lost Boys. I had Kiefer Sutherland.
• 29:31
  Speaker 6: So like, no, literally, like I feel bile rising in
• 29:35
  Speaker 6: my throat thinking about it. It's so freaking gross. And
• 29:38
  Speaker 6: then when they show her walking. and they show the
• 29:40
  Speaker 6: close-ups and her heel to toe walk.
• 29:43
  Speaker 1: The heels are crunching on her.
• 29:44
  Speaker 6: Oh.
• 29:45
  Speaker 2: Oh.
• 29:45
  Speaker 5: Chuck, I am with Amanda here because she sees one,
• 29:49
  Speaker 5: finds one in her hair, and then she sees it
• 29:51
  Speaker 5: in the comb, like two in the comb. There's a
• 29:52
  Speaker 5: reason I shaved my head. It's maggots in the ceiling, man.
• 29:55
  Speaker 2: I once read that names which begin with the letter.
• 30:00
  Speaker 4: Are the names of snakes.
• 30:02
  Speaker 1: Something we started alluding to earlier was the students at
• 30:07
  Speaker 1: this dance academy. Sometimes they seemed... Juvenile.
• 30:11
  Speaker 4: Yeah.
• 30:12
  Speaker 6: Oh, yeah.
• 30:12
  Speaker 4: The way the script was originally written, they were supposed
• 30:15
  Speaker 4: to be young kids.
• 30:16
  Speaker 3: Yeah.
• 30:16
  Speaker 6: There's some discrepancy there. Some sources say eight to nine
• 30:20
  Speaker 6: year olds. Some sources say like preteens. So if you
• 30:24
  Speaker 6: listen to that dialogue knowing that, which I did in
• 30:26
  Speaker 6: the second rewatch, then you totally pick up on that.
• 30:29
  Speaker 4: There's a murder. There's a murder.
• 30:31
  Speaker 6: Why would a grown woman automatically jump to that conclusion?
• 30:35
  Speaker 6: Why would a... And who knows how old they're supposed
• 30:38
  Speaker 6: to be? What, 17 maybe? So not fully grown. And
• 30:41
  Speaker 6: when you have that frame of reference that it was
• 30:43
  Speaker 6: written for younger kids... And some of that starts to
• 30:45
  Speaker 6: make sense. Dario Gento fought for that. He wanted to
• 30:49
  Speaker 6: keep the script as written.
• 30:50
  Speaker 1: I mean, think about this.
• 30:51
  Speaker 5: When she's introduced to the dance troupe and the two
• 30:54
  Speaker 5: girls are kind of getting back and forth at each other,
• 30:56
  Speaker 5: they're sticking their tongues out at each other.
• 30:58
  Speaker 1: It's so juvenile.
• 31:00
  Speaker 5: You know, I think I'd seen this movie a couple
• 31:02
  Speaker 5: times before I read that. And then you go back
• 31:04
  Speaker 5: and watch it. You know, the studio says you can't
• 31:06
  Speaker 5: be murdering little girls. That's just not, it's not going
• 31:09
  Speaker 5: to work. And she's like, fine, but I'm not changing
• 31:11
  Speaker 5: most of the dialogue. Even this house just feels kind
• 31:14
  Speaker 5: of tim burtnisk you know go back and watch it
• 31:17
  Speaker 5: a lot of the door handles are.
• 31:19
  Speaker 4: Higher to make them look smaller.
• 31:21
  Speaker 5: When sarah has to get like escape through the window
• 31:24
  Speaker 5: it's just a weird window it's like it's like 10
• 31:26
  Speaker 5: feet up on the ceiling and it's like big enough
• 31:28
  Speaker 5: to barely fit through and she's stacking all these steamer
• 31:31
  Speaker 5: trunks and luggage to climb up to get to it
• 31:34
  Speaker 5: he wanted you to feel that these girls were younger
• 31:36
  Speaker 5: and in much more danger than say yeah typical 20
• 31:39
  Speaker 5: year old that can fight back.
• 31:41
  Speaker 4: The other scene that stuck out to me is the
• 31:43
  Speaker 4: swimming pool. Oh, yeah.
• 31:44
  Speaker 6: The way they're just floating there and hopping and like,
• 31:46
  Speaker 6: you know, a serious subject, but they look so carefree.
• 31:49
  Speaker 6: You think about when you were young and you're in
• 31:51
  Speaker 6: the pool and you just float there. You just float.
• 31:53
  Speaker 2: Yeah.
• 31:53
  Speaker 4: And you talk to your friends and you gossip and
• 31:55
  Speaker 4: you do this, that, whatever. Yeah.
• 31:57
  Speaker 1: I was kind of joking about that earlier, but as
• 32:00
  Speaker 1: a kid... If a doctor or someone who says they're
• 32:02
  Speaker 1: a doctor is telling you to do things.
• 32:04
  Speaker 4: And force-fed the wine. He needed some bedside manner, man.
• 32:08
  Speaker 4: He needed some better bedside manner. Because I have never.
• 32:11
  Speaker 4: The way he's force-feeding her that wine.
• 32:13
  Speaker 5: I mean, if you're an adult, the doctor's going to say, hey,
• 32:17
  Speaker 5: this is such and such. It's going to give you
• 32:18
  Speaker 5: a little sting. But this is what it's going to
• 32:21
  Speaker 5: do for you. He just jabs her.
• 32:22
  Speaker 1: She's like, ow. He's like, that's all better. All good.
• 32:25
  Speaker 1: You're good. You're good. One of the things that I
• 32:27
  Speaker 1: thought was really neat in the film was this use
• 32:31
  Speaker 1: of colors. And they're super saturated colors. Blues are really blue.
• 32:37
  Speaker 1: The reds are really deep red. They filmed it with
• 32:41
  Speaker 1: normal film stock.
• 32:42
  Speaker 2: Yes.
• 32:43
  Speaker 1: They printed it on Technicolor film to bring out that
• 32:47
  Speaker 1: rich vibrancy. I think it's gorgeous.
• 32:49
  Speaker 4: Very atmospheric.
• 32:50
  Speaker 1: Atmospheric is the word.
• 32:52
  Speaker 5: I don't come back to Suspiria for the violence or
• 32:56
  Speaker 5: the story. I come back for the unnatural intensity that
• 33:00
  Speaker 5: the color scheme is because you've never seen it before.
• 33:03
  Speaker 5: He's using film stock and then he's using the Technicolor
• 33:06
  Speaker 5: process to do it. And it's so vivid, but it's
• 33:09
  Speaker 5: something I don't remember ever seeing in another film. That's
• 33:11
  Speaker 5: why I love Suspiria.
• 33:12
  Speaker 4: Can I just chime in with something here?
• 33:14
  Speaker 6: I want to get your guys' opinion on something because
• 33:16
  Speaker 6: something that really struck me upon rewatch here. Do you
• 33:19
  Speaker 6: guys feel, I need to come way out of left
• 33:22
  Speaker 6: field with this one, that Stanley Kubrick holds some of
• 33:25
  Speaker 6: the shining design from this movie?
• 33:27
  Speaker 1: Absolutely.
• 33:28
  Speaker 6: The geometric designs, the oranges, especially in some of the
• 33:33
  Speaker 6: dance halls and everything.
• 33:36
  Speaker 4: I was really struck by the hallways, the long hallways,
• 33:39
  Speaker 4: the carpet, the wallpaper. I was getting major shining by.
• 33:43
  Speaker 1: I didn't think about that. But when you say that,
• 33:46
  Speaker 1: I 100% can see that.
• 33:50
  Speaker 5: I wasn't even thinking about the shining. And now that
• 33:53
  Speaker 5: she said that, I'm starting to put the similarities together.
• 33:57
  Speaker 5: And it's like, this is, this is an excellent double feature.
• 33:59
  Speaker 4: Absolutely. And it's that claustrophobia.
• 34:02
  Speaker 3: Yes.
• 34:03
  Speaker 1: Something's weird.
• 34:03
  Speaker 4: And if you want to go with.
• 34:04
  Speaker 6: An atmospheric movie, the shiny is absolutely an atmospheric movie
• 34:08
  Speaker 6: as well. It was just some of the set design
• 34:11
  Speaker 6: and stuff. I mean, I was really, it stuck out
• 34:14
  Speaker 6: to me big time. So I'm glad that you guys
• 34:15
  Speaker 6: kind of agree with that. And I'm going to totally
• 34:17
  Speaker 6: off my rocker here.
• 34:18
  Speaker 5: Thank you for bringing that to the forefront because I,
• 34:21
  Speaker 5: I never connected the dots there.
• 34:23
  Speaker 1: And you're absolutely right.
• 34:24
  Speaker 4: Stanley Kubrick is rolling in his grave somewhere, but that's okay.
• 34:27
  Speaker 1: We've mentioned Carpenter. We've mentioned Kubrick.
• 34:29
  Speaker 5: You have to be influenced by Argento.
• 34:31
  Speaker 6: Yep.
• 34:31
  Speaker 5: Especially a film like this.
• 34:34
  Speaker 4: 100%.
• 34:34
  Speaker 1: Well, and Suspiria is one of those films that other
• 34:38
  Speaker 1: directors look back on and they point to. It definitely
• 34:42
  Speaker 1: was influential.
• 34:44
  Speaker 5: Yeah.
• 34:44
  Speaker 1: Things start to get much more dangerous. We have an
• 34:47
  Speaker 1: incident with Daniel and his dog, Sarah counting the footsteps.
• 34:52
  Speaker 1: We have a room that, well, I guess is where
• 34:54
  Speaker 1: they store the razor wire. And eventually Susie is left
• 34:58
  Speaker 1: without the one person who was trying to tell her
• 35:00
  Speaker 1: something was seriously wrong. We didn't even talk about Albert.
• 35:06
  Speaker 1: Was this kid not the freakiest kid?
• 35:08
  Speaker 4: Dude.
• 35:09
  Speaker 1: He's got to be having recess with Damien.
• 35:12
  Speaker 4: Yes.
• 35:13
  Speaker 1: There's something about creepy little kids.
• 35:15
  Speaker 4: That's a child of the corn right there.
• 35:16
  Speaker 1: Yeah.
• 35:17
  Speaker 4: Right there if I ever saw one.
• 35:18
  Speaker 1: He looked like he was little Lord Fauntleroy.
• 35:21
  Speaker 5: Yeah.
• 35:21
  Speaker 1: Then we have this one scene with Sarah. You're starting
• 35:26
  Speaker 1: to describe how she was trying to get through one
• 35:28
  Speaker 1: of the windows when she's being chased. We don't see it.
• 35:31
  Speaker 1: So I guess she doesn't see it. The bottom of
• 35:34
  Speaker 1: the floor is just covered with razor wire. And she
• 35:38
  Speaker 1: jumps straight into it.
• 35:40
  Speaker 4: I hated it. I felt every prickling. I hated it.
• 35:43
  Speaker 4: I hated it.
• 35:43
  Speaker 5: This is Saul decades before Saul happens. Why is it
• 35:48
  Speaker 5: covered in bales of barbed wire? And to see her
• 35:51
  Speaker 5: try to claw her way through it, it's brutal, dude.
• 35:54
  Speaker 4: It's brutal.
• 35:55
  Speaker 1: I have a theory about this. Okay. What if we're
• 35:59
  Speaker 1: seeing something that she's not? What if she's actually in
• 36:01
  Speaker 1: a pitch black room and she doesn't know what she's seeing?
• 36:05
  Speaker 1: But we're seeing this dark blue and that's representative of
• 36:09
  Speaker 1: the dark. Okay. But it looks like she jumps and
• 36:12
  Speaker 1: has no idea that it's down there.
• 36:15
  Speaker 6: Well, I got two things about that, though. One, now
• 36:18
  Speaker 6: this is going into my area of expertise.
• 36:20
  Speaker 4: Okay. Halloween II. Have you seen it?
• 36:23
  Speaker 6: Yes.
• 36:23
  Speaker 1: Yes, and loved it.
• 36:24
  Speaker 6: I love that movie so much. Do you remember the
• 36:26
  Speaker 6: scene Jamie Lee Curtis was in the basement running for Michael?
• 36:29
  Speaker 6: She claws her way up the wall to a window
• 36:33
  Speaker 6: and climbs through it exactly the same way that this
• 36:37
  Speaker 6: character in Suspiria did.
• 36:39
  Speaker 1: You're right.
• 36:40
  Speaker 6: If you watch them side by side, Carpenter not only
• 36:43
  Speaker 6: took influence from the music of Goblin, but when he
• 36:47
  Speaker 6: was in his six-pack-a-day stupor writing Halloween II... I guarantee
• 36:51
  Speaker 6: you he took influence from that scene because side by side.
• 36:55
  Speaker 1: That is a shot for shot.
• 36:56
  Speaker 6: Yes. It's pretty wild. It's pretty wild. And I'll tell
• 36:59
  Speaker 6: you my other thing about that scene. Chuck, you nailed it,
• 37:02
  Speaker 6: I think. She's probably seeing pitch black. And one of
• 37:05
  Speaker 6: the things that John Carpenter did in the original Halloween,
• 37:08
  Speaker 6: when Jamie Lee Curtis is standing in the doorframe and
• 37:11
  Speaker 6: you see Michael slowly come into focus.
• 37:15
  Speaker 4: He attributes that to her eyes adjusting to the darkness.
• 37:18
  Speaker 6: He was there the whole time, but she didn't notice
• 37:21
  Speaker 6: him until her eyes adjusted to the darkness.
• 37:23
  Speaker 4: So I think when she crawled through that window, it
• 37:25
  Speaker 4: was darkness. She didn't see it.
• 37:26
  Speaker 6: And when she jumped in there and it was that
• 37:28
  Speaker 6: blue again from Halloween, when Michael came into focus, that
• 37:32
  Speaker 6: was her noticing what she was jumping into.
• 37:34
  Speaker 4: I think you nailed it.
• 37:36
  Speaker 1: Jeff, as Susie starts solving this puzzle, does the mystery
• 37:40
  Speaker 1: itself ultimately hold up? Or is the plot almost beside
• 37:45
  Speaker 1: the point with a movie like this? I think it's
• 37:48
  Speaker 1: beside the point.
• 37:49
  Speaker 5: I have to be honest, and film scholars can ridicule
• 37:52
  Speaker 5: me for this, but for the longest time, especially when
• 37:55
  Speaker 5: I was a kid, there's so much to unpack in
• 37:57
  Speaker 5: this ending. I honestly just did not know what was
• 38:01
  Speaker 5: what was happening. I really didn't understand it because Sarah's back.
• 38:05
  Speaker 5: But now she's a zombie. You know, she's got like
• 38:07
  Speaker 5: that evil dead look to her. We've got like I'm
• 38:10
  Speaker 5: still wondering, well, who's the who's the killer with the
• 38:13
  Speaker 5: with the black gloves, the muscle, the muscly armed killer.
• 38:16
  Speaker 5: And then now Marcos is here. But then she vanishes
• 38:19
  Speaker 5: and then you can't see her unless the lightning strikes.
• 38:22
  Speaker 5: And then you can see like the outline of her.
• 38:24
  Speaker 5: goblin is is going full steam ahead and it's just
• 38:27
  Speaker 5: like what is happening here and before you know it
• 38:29
  Speaker 5: the place explodes and it's up in flames as she
• 38:32
  Speaker 5: flees credits roll what did yeah credits roll yeah what
• 38:34
  Speaker 5: did i what just happened it's almost like a jackson
• 38:36
  Speaker 5: pollock painting where he's argento's just throwing like you know
• 38:39
  Speaker 5: what i really want to do this and this ah
• 38:41
  Speaker 5: hell with it i'm just gonna do it all and
• 38:42
  Speaker 5: you just throw it you know so i i don't
• 38:45
  Speaker 5: know i think i think at that point the plot
• 38:47
  Speaker 5: is is out the window but i'm here for it
• 38:49
  Speaker 5: still chuck i'm still here for it.
• 38:50
  Speaker 1: For me There was so much in here that didn't
• 38:54
  Speaker 1: make sense to me. Why did the witches want to kill?
• 38:58
  Speaker 4: The evil American?
• 38:59
  Speaker 3: Yeah.
• 38:59
  Speaker 4: I believe that's what they referred to her as.
• 39:01
  Speaker 1: Why is she a threat?
• 39:02
  Speaker 4: Right.
• 39:03
  Speaker 1: What does her death buy other than them somehow gaining
• 39:07
  Speaker 1: more wealth? I got a theory.
• 39:08
  Speaker 5: And maybe you guys can dismiss it or give it
• 39:12
  Speaker 5: a little weight. I feel like because they were very
• 39:14
  Speaker 5: they worked really hard to get to be inclusive, to
• 39:17
  Speaker 5: bring her in. You know, the madam's like, hey, you
• 39:20
  Speaker 5: don't have to stay at the apartment. You know, you
• 39:22
  Speaker 5: can we got your room here, you know, in the dorm.
• 39:25
  Speaker 1: And she's like, no, I'm fine where I'm at. It's free.
• 39:28
  Speaker 1: Come on in.
• 39:28
  Speaker 5: I feel like they see her as like, it's like
• 39:31
  Speaker 5: a recruiting situation. This ballet school is maybe like a
• 39:34
  Speaker 5: recruitment for this coven. And then once they realize that
• 39:36
  Speaker 5: she's not going to be on board with it, she's
• 39:38
  Speaker 5: going to be problematic. And maybe she's a little too strong.
• 39:41
  Speaker 5: She's going to challenge her. uh marcos that's where they
• 39:44
  Speaker 5: recognize her as a threat and that's where you get
• 39:46
  Speaker 5: the exposition dump where they're like i want i want
• 39:49
  Speaker 5: her dead i want her gone you know and they
• 39:51
  Speaker 5: then they're plotting this whole human sacrifice thing that she
• 39:54
  Speaker 5: stumbles upon i don't know maybe i'm maybe i'm reading
• 39:56
  Speaker 5: too much into it but that's that's why i think
• 39:58
  Speaker 5: they've got such an issue now.
• 40:00
  Speaker 1: No i think it's a good theory it's better than
• 40:01
  Speaker 1: what i had which was absolutely nothing other than Did
• 40:06
  Speaker 1: anybody else notice the bird with the crystal plumage?
• 40:09
  Speaker 6: No.
• 40:09
  Speaker 1: It shatters and she grabs one of the plumages and
• 40:13
  Speaker 1: uses it to stick through the neck of Helena Marcos.
• 40:16
  Speaker 1: Chekhov's plumage. There you go.
• 40:19
  Speaker 4: Oh, interesting.
• 40:20
  Speaker 1: The actress who played Marcos was actually a 90-year-old woman,
• 40:24
  Speaker 1: and then they added more makeup on her to make
• 40:26
  Speaker 1: her look even older. Oh, man.
• 40:29
  Speaker 5: She reminded me of Seahag from the old Popeye cartoons.
• 40:31
  Speaker 1: Yes, that's good. That's good. Suspiria has this massive reputation
• 40:37
  Speaker 1: as a horror masterpiece, and... I liked it. But the
• 40:41
  Speaker 1: first time when the credits started rolling, I feel like
• 40:44
  Speaker 1: I might have been missing something. Because when I think
• 40:47
  Speaker 1: about movies that truly terrify me, I'm thinking of movies
• 40:50
  Speaker 1: like Halloween or Texas Chainsaw. And this one just didn't
• 40:53
  Speaker 1: hit me that same way. So what is the secret
• 40:56
  Speaker 1: sauce that makes this endure? And do you actually find
• 41:01
  Speaker 1: Suspiria to be scary? No.
• 41:04
  Speaker 4: It's unsettling for me.
• 41:05
  Speaker 1: Thank you, Amanda. That's the word.
• 41:07
  Speaker 5: I don't think horror necessarily has to be scary, provided
• 41:11
  Speaker 5: that it elicits an emotion. Whether you're unsettled, whether you're uncomfortable,
• 41:15
  Speaker 5: whether you're shocked, if it makes an impression on you,
• 41:18
  Speaker 5: then the film has done its job.
• 41:21
  Speaker 1: It does it in spades.
• 41:23
  Speaker 5: It's just, you know, you can't watch Suspiria and never,
• 41:27
  Speaker 5: you're not going to forget the visuals, how striking they are.
• 41:30
  Speaker 5: You're not going to forget how unsettling and creepy Goblin's
• 41:34
  Speaker 5: soundtrack is. And when you think about the fact that,
• 41:37
  Speaker 5: I mean, look at the fact that they recorded the
• 41:40
  Speaker 5: whole soundtrack before they saw a frame of the movie.
• 41:43
  Speaker 5: I think that helps make it a little offset and
• 41:45
  Speaker 5: a little disjointed and it works so does horror have
• 41:49
  Speaker 5: to be scary no but it does have to elicit
• 41:52
  Speaker 5: a response.
• 41:52
  Speaker 6: And I'd actually put this more in the category than
• 41:55
  Speaker 6: horror I'd put it more as a thriller yeah honestly
• 41:58
  Speaker 6: okay because horror like like saying doesn't necessarily need to
• 42:01
  Speaker 6: be scary. And that's a relative term, too. What is scary?
• 42:05
  Speaker 6: It's different for everybody. You know, I mean, people might
• 42:08
  Speaker 6: be terrified of barbed wire. And so this is the
• 42:10
  Speaker 6: scariest movie they've ever seen. You know, it's very relative.
• 42:14
  Speaker 6: But yeah, I think horror, definitely. It's about the emotions,
• 42:18
  Speaker 6: you know, that unsettling feeling that you get that.
• 42:21
  Speaker 4: You're not safe. If you can feel not safe, that's horror.
• 42:24
  Speaker 5: Yeah.
• 42:25
  Speaker 6: If you're stripped of that, you know, imminent danger just
• 42:29
  Speaker 6: nailed it.
• 42:29
  Speaker 5: So it's a serious, scary, the same way hereditary or
• 42:34
  Speaker 5: midsummer is scary for some. It might be terrifying. And
• 42:38
  Speaker 5: for others, it's like, yeah, it's unsettling. It makes me uncomfortable,
• 42:42
  Speaker 5: but I'm not scared.
• 42:43
  Speaker 6: Like if I showed my almost 21 year old, he
• 42:45
  Speaker 6: was going to watch it with me the other night,
• 42:47
  Speaker 6: but didn't. He'd be bored to tears because it's not
• 42:50
  Speaker 6: the horror that he's used to. It's more cerebral. It's more,
• 42:54
  Speaker 6: you know, about the atmosphere. He wouldn't classify that as
• 42:57
  Speaker 6: a horror movie.
• 42:58
  Speaker 1: Well, Amanda.
• 42:59
  Speaker 4: Okay.
• 42:59
  Speaker 5: So this is a question that I only you can
• 43:01
  Speaker 5: answer when, when you think about Suspiria and I'm talking,
• 43:05
  Speaker 5: let's go back to the beginning where it's a torrential
• 43:09
  Speaker 5: downpour at night in a strange city in And you're
• 43:12
  Speaker 5: in this cab with a guy that doesn't speak English
• 43:16
  Speaker 5: too well.
• 43:17
  Speaker 4: Until he does.
• 43:18
  Speaker 1: Until he does.
• 43:19
  Speaker 3: Yes.
• 43:19
  Speaker 5: But my question is, are there are there scenes in
• 43:22
  Speaker 5: Suspiria that maybe could be a little more scary for
• 43:26
  Speaker 5: a woman, you know, being in that position?
• 43:28
  Speaker 4: Well, sure.
• 43:29
  Speaker 6: Standing outside in the rain and not being let into
• 43:32
  Speaker 6: the place you've already been accepted to. That's terrifying. Being
• 43:36
  Speaker 6: in a cab late at night with a language barrier, unfortunately.
• 43:40
  Speaker 4: Yeah.
• 43:41
  Speaker 5: I'm just wondering if there's a level of fear to
• 43:44
  Speaker 5: Suspiria that maybe, that Chuck, maybe you can't, fathom or
• 43:48
  Speaker 5: maybe i can't fathom because because.
• 43:50
  Speaker 4: We're not women oh that's interesting.
• 43:52
  Speaker 5: You know this is a predominantly female cast it's interesting
• 43:55
  Speaker 5: definitely you've got what's maybe not not counting the kid
• 43:59
  Speaker 5: you got maybe three male actors in this four yeah
• 44:03
  Speaker 5: yeah and not a one of them is normal right
• 44:06
  Speaker 5: they're all they're all kind of creepy they're all kind
• 44:08
  Speaker 5: of Given off a vibe like that guy, I'm not
• 44:11
  Speaker 5: hanging out with that guy by myself. So I think
• 44:14
  Speaker 5: maybe Suspiria might, you know, we're talking, is it scary?
• 44:17
  Speaker 5: But I got to wonder, like, is it scary from
• 44:19
  Speaker 5: the female point of view?
• 44:20
  Speaker 4: That's interesting.
• 44:22
  Speaker 1: Well, the second time that I watched it, I think
• 44:24
  Speaker 1: what I walked away with is that it is scary
• 44:28
  Speaker 1: in the way that Edgar Allan Poe is. Yeah. It's
• 44:34
  Speaker 1: way more gothic.
• 44:36
  Speaker 5: Mm-hmm.
• 44:36
  Speaker 1: So that it starts to fall more into that kind
• 44:40
  Speaker 1: of a category. It's not just one thing. I mean,
• 44:44
  Speaker 1: it's it's like the whole stew that he's been cooking
• 44:48
  Speaker 1: the entire the entire time. Well, do we have anything
• 44:52
  Speaker 1: else that we wanted to say about Suspiria?
• 44:54
  Speaker 4: I can tell you one thing, and I was going
• 44:55
  Speaker 4: to touch on it earlier.
• 44:57
  Speaker 6: I really, and come at me, it's fine, come at me,
• 45:01
  Speaker 6: but the character or the portrayal of Paulina Marcos.
• 45:05
  Speaker 4: Took me out of the movie immediately. Immediately.
• 45:08
  Speaker 6: It was cartoonish to me, the way that she talked,
• 45:11
  Speaker 6: the gibberish, the vocals.
• 45:14
  Speaker 4: Everything, it just took me out of it.
• 45:17
  Speaker 6: Everything I'd felt up to that point, I was immediately
• 45:19
  Speaker 6: removed from.
• 45:20
  Speaker 4: I could be way alone on that, but.
• 45:22
  Speaker 1: No, I don't think you're alone. I felt the ending
• 45:25
  Speaker 1: was rushed. The movie starts off with this weird narrative,
• 45:29
  Speaker 1: which felt out of place, and then it ended like
• 45:32
  Speaker 1: okay we're done with the story yep it felt like
• 45:35
  Speaker 1: that they could have they could have slowed it down
• 45:37
  Speaker 1: just a little bit to develop that ending because i
• 45:40
  Speaker 1: felt the entire set piece at the end was really
• 45:42
  Speaker 1: good but yeah the helena marcus reveal was a little
• 45:47
  Speaker 1: bit of a letdown there was no.
• 45:49
  Speaker 6: Payoff Like I said, it was just cartoonish. It almost
• 45:51
  Speaker 6: felt like the goofier episodes of like Tales from the Crypt.
• 45:56
  Speaker 4: If you guys watch that.
• 45:57
  Speaker 1: Yep, loved it.
• 45:58
  Speaker 6: You know, every once in a while there'll be that
• 45:59
  Speaker 6: episode that you're like, who the hell wrote that? Like,
• 46:02
  Speaker 6: you know, like that didn't fit at all. Like the
• 46:04
  Speaker 6: Crypt Keeper, like how goofy he was. Now that's an
• 46:07
  Speaker 6: iconic character. It was made to be that way. But
• 46:10
  Speaker 6: she was giving that. She was giving Crypt Keeper goofy vibes.
• 46:14
  Speaker 6: And it just didn't work for me. It did not
• 46:17
  Speaker 6: work for me at all.
• 46:18
  Speaker 5: You're not alone on that. You're definitely not alone on that. Chuck,
• 46:21
  Speaker 5: one more thing, because I know I failed to mention
• 46:24
  Speaker 5: it earlier, but one of my favorite facts about, you know,
• 46:28
  Speaker 5: we've talked about how Suspiria has influenced, you know, other
• 46:32
  Speaker 5: directors like the show.
• 46:33
  Speaker 1: We've we talked about The Shining. We talked about Halloween, too.
• 46:36
  Speaker 1: We talked about Carpenter.
• 46:38
  Speaker 5: But you got to remember what influenced Suspiria. And if
• 46:41
  Speaker 5: you guys didn't know this one, this is a this
• 46:43
  Speaker 5: is a great one. So Argento tells his director of photography,
• 46:47
  Speaker 5: you know, he's like, what are we hoping to accomplish?
• 46:51
  Speaker 5: What's the look you want this movie to have? And
• 46:54
  Speaker 5: he gives him the assignment. He says, I need you,
• 46:57
  Speaker 5: before you shoot anything, I need you to go watch...
• 47:00
  Speaker 5: Snow White and the Seven Dwarfs.
• 47:02
  Speaker 4: I read that.
• 47:03
  Speaker 1: That is what we want.
• 47:04
  Speaker 5: And when you think that Suspiria is influenced by Snow
• 47:08
  Speaker 5: White and the Seven Dwarfs, that's just mind-blowing. And it's weird,
• 47:12
  Speaker 5: but it's weird because you can see it. When you
• 47:15
  Speaker 5: know that fact and you watch Suspiria, you kind of
• 47:17
  Speaker 5: can see it a little bit. The colors are there.
• 47:20
  Speaker 5: The cinematography's there. It's really cool.
• 47:22
  Speaker 4: The whimsy.
• 47:23
  Speaker 1: Yeah.
• 47:24
  Speaker 5: Yes.
• 47:24
  Speaker 1: The whimsy. Well, Chuck, you were talking about Grimm's fairy
• 47:26
  Speaker 1: tales earlier. It's there. It's all there.
• 47:29
  Speaker 4: Yeah.
• 47:29
  Speaker 1: Okay. Well, I think we've gotten about as close as
• 47:33
  Speaker 1: we're going to get to figuring out Suspiria. We need
• 47:36
  Speaker 1: to take one final break. And when we come back,
• 47:38
  Speaker 1: we'll give our final thoughts and find out whether this
• 47:41
  Speaker 1: one grooves to the decades or did it skip a beat?
• 47:44
  Speaker 1: We'll be right back. It's a cinematic flashback. Let the
• 47:55
  Speaker 1: show begin. Welcome back. Now comes the question that really matters.
• 48:00
  Speaker 1: Did Suspiria groove through the decades or did it lose
• 48:03
  Speaker 1: its beat? Jeff, I want to get your thoughts on
• 48:05
  Speaker 1: this first. Well, you know, we've been talking about influences, right?
• 48:09
  Speaker 5: And it's not just another Italian horror film. We've come
• 48:12
  Speaker 5: to regard it as a landmark for its atmospheric visuals.
• 48:17
  Speaker 5: It's stylized horror. I would say it's avant-garde. It might
• 48:21
  Speaker 5: be the most avant-garde film I've ever seen. And for that,
• 48:24
  Speaker 5: if you're asking me, does it groove through the decades
• 48:27
  Speaker 5: or does it skip a beat? I think Suspiria definitely
• 48:29
  Speaker 5: grooves for the ghouls who enjoy their killer cuts to
• 48:33
  Speaker 5: be of the classic or cult variety.
• 48:35
  Speaker 2: Okay.
• 48:36
  Speaker 1: Amanda, where did this one land for you?
• 48:38
  Speaker 4: Oh, gosh. Is there an in-between option? No.
• 48:42
  Speaker 6: I am heavily leaning toward Bruce through the decades because
• 48:45
  Speaker 6: of the influence it had on following films. It's memorable
• 48:50
  Speaker 6: as hell. Like so many takeaways from it. So many visuals,
• 48:54
  Speaker 6: the atmosphere, everything sticks with you.
• 48:56
  Speaker 4: Everything. Now, what's the mark of a good movie? A
• 49:00
  Speaker 4: good story. Does this have that?
• 49:02
  Speaker 2: No.
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  Speaker 6: Not in my opinion, at least, but it's memorable. If
• 49:06
  Speaker 6: you show it, like I said, to a younger generation
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  Speaker 6: that's not used to this type of film, I don't
• 49:12
  Speaker 6: think it has that kind of staying power, if that
• 49:14
  Speaker 6: makes sense.
• 49:15
  Speaker 4: You can show Halloween.
• 49:16
  Speaker 6: You can show umpteen other horror or tragedies.
• 49:20
  Speaker 4: Movies to kids of this generation. They're going to get it.
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  Speaker 4: They're going to understand it.
• 49:24
  Speaker 6: They're not going to necessarily understand where Argento is coming
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  Speaker 6: from or Italian style horror or giallo. it's gonna look
• 49:32
  Speaker 6: cheesy to them the blood how red it is you
• 49:35
  Speaker 6: know and it's like we see that as stylized.
• 49:38
  Speaker 4: So I'm kind of stuck in between because I'm.
• 49:40
  Speaker 6: Torn I'm really really torn on that we see the
• 49:43
  Speaker 6: influence because we live for it you know we've experienced
• 49:47
  Speaker 6: that I'm gonna up and just go with it. Grooves.
• 49:50
  Speaker 5: Amanda, we kind of mentioned like it's like required reading
• 49:52
  Speaker 5: for horror fans.
• 49:54
  Speaker 4: Yes.
• 49:54
  Speaker 5: To your point with a younger generation, I see a
• 49:58
  Speaker 5: younger generation that's going through film school or is wants
• 50:01
  Speaker 5: to be wants to enter the film world.
• 50:03
  Speaker 4: Yeah.
• 50:04
  Speaker 5: This is an amazing piece of cinema for them.
• 50:07
  Speaker 4: 100 percent. But you're you're.
• 50:10
  Speaker 5: Your teenager, you know, your Gen Z teenager who's living
• 50:14
  Speaker 5: on TikTok, you put Suspiria on, you've lost them probably
• 50:17
  Speaker 5: before the iconic kill in the beginning.
• 50:19
  Speaker 4: Correct.
• 50:20
  Speaker 1: That's my thought.
• 50:21
  Speaker 4: Yeah.
• 50:21
  Speaker 1: But Chuck, Chuck does it groove. Well, okay, here we go.
• 50:25
  Speaker 1: I did not find this movie scary. Creepy, yes. Visually stimulating, absolutely.
• 50:31
  Speaker 1: Great soundtrack, without a question. But scary, not so much.
• 50:36
  Speaker 4: Yeah.
• 50:36
  Speaker 1: But what this movie has is, It has atmosphere. I
• 50:40
  Speaker 1: think this also might be one of its weaknesses because
• 50:44
  Speaker 1: there's so much style and maybe not quite as much substance.
• 50:49
  Speaker 1: The one thing that I had wished that we had gotten...
• 50:53
  Speaker 1: was a much clearer sense of what the witches actually
• 50:57
  Speaker 1: wanted with Susie. Why was it her? What was their
• 51:00
  Speaker 1: purpose for? I wish that was spelled out so that
• 51:03
  Speaker 1: I had something to anchor the story into. But with
• 51:07
  Speaker 1: all this said, I really do like the movie. This
• 51:09
  Speaker 1: would be such a great midnight movie to go and
• 51:12
  Speaker 1: see on the big screen. Dark theater.
• 51:15
  Speaker 3: Yeah.
• 51:16
  Speaker 1: Goblin blasting through the speakers. And, you know, that's really
• 51:19
  Speaker 1: how I would like to experience Suspiria. Amanda, I am
• 51:24
  Speaker 1: in the same quandary as you. I think it grooves,
• 51:27
  Speaker 1: but then there's some other stuff that it doesn't quite.
• 51:30
  Speaker 1: So I don't know, maybe it's kind of, you know,
• 51:32
  Speaker 1: when the record starts to skip a little bit, you
• 51:34
  Speaker 1: really like the song. So you have to kind of
• 51:37
  Speaker 1: get the needle to go along a little bit. You know,
• 51:39
  Speaker 1: so it has a little bit of that. But I
• 51:41
  Speaker 1: think overall for me, it does groove.
• 51:43
  Speaker 4: For sure.
• 51:44
  Speaker 6: There's other Italian horror movies out there that aren't as
• 51:47
  Speaker 6: well known or as popular that I think would resonate
• 51:50
  Speaker 6: more with the younger generation. Something like Fulci, maybe.
• 51:55
  Speaker 4: Yeah, I was thinking Fulci. Zombie.
• 51:57
  Speaker 2: Yeah.
• 51:58
  Speaker 1: Zombie.
• 51:58
  Speaker 6: Yeah. I could show my kid Demons and he would
• 52:01
  Speaker 6: think that's the best movie ever.
• 52:03
  Speaker 4: And we got more Goblet there. We got a story.
• 52:05
  Speaker 6: Yeah.
• 52:05
  Speaker 4: Still doesn't make any sense, but we got a story.
• 52:07
  Speaker 1: There you go.
• 52:08
  Speaker 6: It's not as stylized and stuff. I just think this
• 52:10
  Speaker 6: film is much deeper than that.
• 52:12
  Speaker 5: Mm-hmm.
• 52:13
  Speaker 1: I was thinking Fulci's Zombie as well. I remember the
• 52:16
  Speaker 1: first time I saw that on the cover of a
• 52:18
  Speaker 1: Fangoria magazine, and it was much, much later before I
• 52:21
  Speaker 1: actually got to see that one. That was quite good.
• 52:24
  Speaker 4: Plus, who doesn't love Zombie vs. Shark? I mean, that's
• 52:27
  Speaker 4: a winning formula right there.
• 52:28
  Speaker 2: Yeah.
• 52:29
  Speaker 1: Too good. Today's kids who are all brought up on
• 52:32
  Speaker 1: Walking Dead have never seen Zombie vs. Shark. Just get
• 52:36
  Speaker 1: to stepping. You're missing. OK, Jeff, what do you have
• 52:39
  Speaker 1: going on over at a film by?
• 52:41
  Speaker 5: I got to tell you, you know, we're in the
• 52:43
  Speaker 5: seventh season and we get bigger and badder every October
• 52:48
  Speaker 5: because we can't I can't say no to all the
• 52:51
  Speaker 5: horror films that we get the opportunity to talk about.
• 52:53
  Speaker 5: And I thought, OK, we're going to we're going to
• 52:56
  Speaker 5: lay low a little bit this this month where we'll
• 52:58
  Speaker 5: do like 10 episodes. And I think we're somewhere around
• 53:01
  Speaker 5: 16 because people are like, hey, we are going to
• 53:05
  Speaker 5: talk about this one. Hey, we are going to talk
• 53:06
  Speaker 5: about that one. I'm like, and I just can't say no.
• 53:08
  Speaker 1: It's hard.
• 53:08
  Speaker 5: But I will tell you, you guys know we always
• 53:11
  Speaker 5: go all in on the scary stuff this month. We'll
• 53:13
  Speaker 5: have plenty of James Gunn. Gore and Masked Slashers, plus
• 53:19
  Speaker 5: the lovely and talented actress Helene Udy is going to
• 53:22
  Speaker 5: be joining us to celebrate the 45th anniversary of her
• 53:26
  Speaker 5: 1981 classic, My Bloody Valentine.
• 53:29
  Speaker 1: Shut the front door. Chuck, listen. This is all.
• 53:32
  Speaker 5: Thanks to slasher girl Amanda Janik herself, who told us like,
• 53:37
  Speaker 5: you know, I think she I think it was maybe
• 53:38
  Speaker 5: the second or third time Amanda showed up on a
• 53:40
  Speaker 5: film by. It's like, dude, do we ever get to
• 53:42
  Speaker 5: talk about a slasher? And I was like, OK, what's
• 53:45
  Speaker 5: your thought? What do you want? She had my bloody
• 53:47
  Speaker 5: Valentine was the was that was the call last year
• 53:51
  Speaker 5: at Scarefest. I happened I had the opportunity to meet her. uh,
• 53:54
  Speaker 5: several cast members from my bloody Valentine. And we got
• 53:57
  Speaker 5: to talking and, and I told Helene, I said, you know,
• 53:59
  Speaker 5: I said, I got a listener and a very good
• 54:02
  Speaker 5: friend who would love for you to do the show.
• 54:05
  Speaker 5: And she was like, I'm in, she's like, let me,
• 54:08
  Speaker 5: let's do it. So, uh, Helene will be joining me
• 54:11
  Speaker 5: and Amanda Janik and we're going to, we're going to
• 54:13
  Speaker 5: be talking about my bloody Valentine, which I'm excited for.
• 54:15
  Speaker 1: Oh gosh. I, I cannot, I cannot wait.
• 54:18
  Speaker 5: Yeah.
• 54:19
  Speaker 1: Yeah. She's a sweetheart.
• 54:21
  Speaker 5: I can't wait to talk with her and I can't
• 54:23
  Speaker 5: wait to see the exchange between her and her and Amanda.
• 54:25
  Speaker 5: So it's going to be a fun one.
• 54:27
  Speaker 1: Amanda, besides that, do you have any more appearances that
• 54:30
  Speaker 1: are coming up?
• 54:32
  Speaker 6: Well, I think I'm hitting up with Jeff a couple
• 54:35
  Speaker 6: of times in October.
• 54:36
  Speaker 1: Yeah, she is.
• 54:37
  Speaker 6: So I'm pretty excited about that because we got the
• 54:40
  Speaker 6: Friday the 13th prequel coming up.
• 54:42
  Speaker 4: So I'm losing sleep over that one. Very excited about that.
• 54:46
  Speaker 6: But yeah, I believe that's all I've got on the
• 54:51
  Speaker 6: docket for podcasting.
• 54:52
  Speaker 2: Chuck.
• 54:53
  Speaker 5: If I could just take this opportunity then, because as
• 54:56
  Speaker 5: you mentioned earlier, the two of you showed up. We
• 54:58
  Speaker 5: talked about Deadly Friend. You guys showed up a year later.
• 55:02
  Speaker 5: We did Deadly Blessing. I'd love to have you guys
• 55:04
  Speaker 5: back again.
• 55:05
  Speaker 1: And here I go.
• 55:07
  Speaker 5: I'm adding more to the docket and I don't even care.
• 55:10
  Speaker 5: But Amanda, if memory serves, she had this great idea.
• 55:14
  Speaker 5: She was like, how about we do Silent Night, Deadly Night?
• 55:16
  Speaker 5: And I thought, 1984, Silent Night, Deadly Night, I'm all
• 55:20
  Speaker 5: for it. So if you guys want to come over,
• 55:22
  Speaker 5: let's talk Silent Night, Deadly Night 4.
• 55:24
  Speaker 1: I would love it.
• 55:24
  Speaker 6: I am so in. I love that movie. It is
• 55:28
  Speaker 6: low key, like such a guilty pleasure of mine.
• 55:32
  Speaker 1: Chuck, have you seen it? It's been a long time
• 55:34
  Speaker 1: since I've seen this one. All right, let's let's do it.
• 55:37
  Speaker 4: You're in for a trip.
• 55:38
  Speaker 1: Excellent. Well, that brings us to our next movie. We're
• 55:42
  Speaker 1: not quite finished with Goblin yet. In 1978, Dario Argento
• 55:46
  Speaker 1: and Goblin teamed up with a filmmaker who had already
• 55:49
  Speaker 1: changed the horror genre 10 years earlier with Night of
• 55:53
  Speaker 1: the Living Dead. This time, George Romero brought the dead
• 55:56
  Speaker 1: back to life and took them to the mall. Next
• 55:59
  Speaker 1: time on Cinematic Flashback, we're wrapping up October with Dawn
• 56:04
  Speaker 1: of the Dead. And we want to thank you for
• 56:06
  Speaker 1: taking the time to tune in. If you've seen Suspiria,
• 56:09
  Speaker 1: we'd love to hear what you think. Reach out to
• 56:11
  Speaker 1: us on Facebook or leave us a message over at
• 56:14
  Speaker 1: Cinematic Flashback. Don't forget to subscribe so you never miss
• 56:17
  Speaker 1: an episode. And if you're enjoying the podcast, we'd really
• 56:20
  Speaker 1: appreciate a rating and a review. In fact, your review
• 56:24
  Speaker 1: just might get read on the air. And tell your
• 56:27
  Speaker 1: friends and family what we still proudly believe is the
• 56:30
  Speaker 1: best podcast dedicated exclusively to the 1970s cinema. Join us
• 56:34
  Speaker 1: next time when we climb back into the Wayback Machine
• 56:38
  Speaker 1: and head once again into the 1970s for another cinematic adventure.
• 56:43
  Speaker 1: Until then, thanks for listening.
• 57:06
  Speaker 3: Susie.
• 57:09
  Speaker 2: Sarah.