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SMNTY Double Feature: Suspiria · Stuff Mom Never Told You

0:05
Speaker 1: Hey, this is Annie and Samantha and welcome to Stephan.
0:07
Speaker 1: I've never told your protection of I Heart Radio. So today,
0:19
Speaker 1: in our continuing just really running head first into Halloween
0:25
Speaker 1: and spooky times, we are going to be doing a
0:29
Speaker 1: double feature of Suspiria, the old one and the new one,
0:34
Speaker 1: which has been fun because neither of us had seen
0:37
Speaker 1: the old one before when we had decided to do
0:39
Speaker 1: this true story, but we both watched it. Now. That
0:43
Speaker 1: being said, a trigger warning on this. I don't think
0:46
Speaker 1: we're gonna get too intensely into anything, but there is
0:49
Speaker 1: some kind of gruesomeness because we are talking about horror movies.
0:53
Speaker 1: It's really we're not going to go into depth, but
0:55
Speaker 1: you know, just to put that out there. And I
0:58
Speaker 1: think we've already mentioned it, but we're probably going to
1:00
Speaker 1: do multiple movies this month. Episode movies, episode movies, movies, episodes,
1:08
Speaker 1: you know what I mean, because they're just so many.
1:10
Speaker 1: We both have horror movies. There's so many to go over.
1:12
Speaker 1: I think a lot of them have really interesting themes
1:15
Speaker 1: when it comes to women and kind of all these
1:18
Speaker 1: anxieties we have around that. And I really want to
1:22
Speaker 1: talk about Black Swan. So it's odd to me that
1:27
Speaker 1: we're sort of doing those women in horror and dance theme,
1:33
Speaker 1: but you know that's just not just what's happening, right.
1:37
Speaker 1: I've never seen Black Swans, so this will be an
1:39
Speaker 1: interesting take from me as well. Those types of movies
1:42
Speaker 1: are a little more trippy because it's not seen as
1:45
Speaker 1: horror as a thriller suspense, I guess, like the logical thrillers,
1:51
Speaker 1: and typically those are like whatever. So it'll be interesting
1:54
Speaker 1: because I've always seen one Aeronofski film and a Belitas Mother.
1:58
Speaker 1: That one was twisted as hell. Yes, we will talk
2:02
Speaker 1: about butter in the Black Swan one because that there's
2:06
Speaker 1: a similar theme in Black Swan of like a male
2:10
Speaker 1: artistic director who is getting like a woman is his
2:16
Speaker 1: muse and the woman is kind of like suffering for
2:18
Speaker 1: the art, which we've talked about before. But yes, yes,
2:23
Speaker 1: I will say Black Swan is not as trippy and
2:26
Speaker 1: as step as a Mother is, Okay, I mean I
2:29
Speaker 1: just remember being prepped for it in that Jennifer Lawrence
2:32
Speaker 1: was talking about how it kind of damaged her at
2:35
Speaker 1: that point in time, and it made me not really
2:38
Speaker 1: love Aronofsky in general. So I'll it'll be an interesting take.
2:44
Speaker 1: I think, yes, oh, yes, for sure, but that is
2:47
Speaker 1: for the future today. Yes, we're talking about Suspiria. Yes
2:51
Speaker 1: and yeah. So let's jump into this classic version, the
2:55
Speaker 1: original Suspiria. And there's a lot of feeling about the
2:59
Speaker 1: fact it has been remade, including from the director. So
3:03
Speaker 1: but let's go ahead and jump into it. So it's
3:05
Speaker 1: directed by an Italian filmmaker Dario Argento in nineteen seventies seven,
3:09
Speaker 1: and this movie has been held as one of the
3:12
Speaker 1: best horror movies of all time. As in fact, according
3:16
Speaker 1: to one article, it said that it was in top
3:18
Speaker 1: twenty of all time from professional film critics, so they
3:21
Speaker 1: if they had to like test, say which ones were
3:24
Speaker 1: their top twenty, this made the list. Uh. So we
3:27
Speaker 1: open up to see a young American Susie Banion played
3:31
Speaker 1: by Jessica Harper, arriving at the airport in Munich on
3:34
Speaker 1: a very stormy night, like unusually stormy apparently it is
3:38
Speaker 1: a part of the plot. After struggling to get a taxi,
3:41
Speaker 1: literally jumping in front of one to stop it, she
3:44
Speaker 1: arrives at the prestigious academy in Freiburg, where we see
3:48
Speaker 1: another student leaving in a panic and Susie then gets
3:51
Speaker 1: turned away from the studio is told to leave like
3:55
Speaker 1: the person who's yelling at her the intercommon way leave
3:58
Speaker 1: essentially so sleeve the studio, and as she does, as
4:02
Speaker 1: she witnesses the young lady who left in a panic,
4:04
Speaker 1: who is Pat you'll want to know that name, walking
4:07
Speaker 1: through the woods in a hurry, in a very scared
4:10
Speaker 1: state of being, and we cut them to see Pat
4:14
Speaker 1: arriving at her friend's place after leaving the school, and
4:17
Speaker 1: she tries to talk about why she ran away, but
4:19
Speaker 1: it's too scared, cold and wet, so she retreats into
4:23
Speaker 1: the bathroom. When we proceed to see the first brutal
4:27
Speaker 1: scene and apparently Argenta is known for this kind of thing.
4:31
Speaker 1: And of course where I come through, going girl run,
4:34
Speaker 1: stopped looking at the damn window because I'm like, there's
4:36
Speaker 1: b eyes run. That's when you run, you know, whatever,
4:40
Speaker 1: in which both Pat and her friend are killed, so
4:43
Speaker 1: patistad repeatedly with the final shot of the knife going
4:48
Speaker 1: directly into her heart, So you see a knife going
4:50
Speaker 1: into an actual heart. I guess it's movie magic makeup maybe,
4:58
Speaker 1: and then being hung all falling through a glass ceiling
5:02
Speaker 1: and then we see her friend die due to the
5:05
Speaker 1: metal and glass falling on top of her, and by
5:08
Speaker 1: the way, throughout the scene, she's knocking on all the
5:09
Speaker 1: doors screaming, help, my friends getting murdered. Nobody stops to help,
5:15
Speaker 1: by the way, and then we move on to see
5:18
Speaker 1: Susie who has finally made it inside of the dance
5:20
Speaker 1: studio Dance Academy, and she's introduced to Madame Blanc who
5:25
Speaker 1: played by Joan Bennett, which, by the way, this was
5:27
Speaker 1: her last movie that she'd ever filmed, and she was
5:30
Speaker 1: also nominated for a Saturn Award for her performance. She
5:33
Speaker 1: didn't win, but she was nominated and Ms Tanner played
5:37
Speaker 1: by Alida Valley. Upon her arrival, she learns of Pat's
5:42
Speaker 1: death and murder, and at this point Susie tries to
5:45
Speaker 1: recall exactly what Pat is saying as she fled from
5:48
Speaker 1: the school, but has a hard time remembering what was said.
5:52
Speaker 1: Apparently this is a style that Argenta has used before
5:56
Speaker 1: um and likes to use in a lot of his movie,
5:58
Speaker 1: so the whole like hidden message you can't quite remember
6:01
Speaker 1: always there. After she'd been told she would be boarding
6:05
Speaker 1: with another student due to her room not being ready
6:07
Speaker 1: at the academy. She decides that she would rather stay
6:10
Speaker 1: with that other student rather than the academy, but uh
6:14
Speaker 1: got some weird reactions from the teachers, including one saying, oh,
6:18
Speaker 1: you're strong willed, good yea, and after that another bazaar
6:26
Speaker 1: encounter with the cook. A lot of foreboding stairs in
6:30
Speaker 1: this movie. Also definitely there's a lot of tropes in
6:35
Speaker 1: this probably originated from this, so he definitely created a style. Yes,
6:40
Speaker 1: some odd staring for voting stairs as she passes by
6:44
Speaker 1: the cook specifically, and then she gets sick. Weird. I
6:48
Speaker 1: don't know what's happening. This glittering light made her sick,
6:50
Speaker 1: and she's told she has to try to dance, and
6:52
Speaker 1: then she passes out while she's dancing. It's really dramatic,
6:56
Speaker 1: and then has to be seen by a doctor who
6:58
Speaker 1: puts her on a very restrictive eye it that includes
7:01
Speaker 1: ambrosia wine. That's how they say it. So I was
7:04
Speaker 1: like okay, and it's moved into the dorm against her wishes,
7:09
Speaker 1: and of course more weird things happen, like maggots falling
7:12
Speaker 1: out of the ceiling causing them to have to be
7:14
Speaker 1: moved into the practice hall for the night, and y'all.
7:16
Speaker 1: That probably was the creepiest scene to me, the maggots
7:19
Speaker 1: in the hair. So they all have to move into
7:24
Speaker 1: the practice hall for the night, where her classmate and neighbor,
7:27
Speaker 1: her dorm neighbor Sarah, tells her of this incident where
7:31
Speaker 1: she is next to the schooler that director or rooms
7:34
Speaker 1: next to a school director and she knows this weird
7:37
Speaker 1: snoring whistling sound and it has to be her and
7:41
Speaker 1: the school director was supposed to be gone at this time,
7:44
Speaker 1: but you know, we see this floating image come and
7:48
Speaker 1: take a bed next to the students, so that was
7:50
Speaker 1: kind of like a huh, another weird occurrence. Of course,
7:55
Speaker 1: next day we see a blind pianist who we are
7:58
Speaker 1: introduced earlier into in the movie, but he comes in
8:01
Speaker 1: leaves his guide dog at the door, and I was
8:04
Speaker 1: very scared. I was like, oh no, not a dog.
8:05
Speaker 1: Not a horror movie. And then we hear noises from
8:09
Speaker 1: the outside as the nephew of Madame Blanc, who she's
8:11
Speaker 1: already stated means a lot to her, so we know
8:14
Speaker 1: he's something walks to the school and immediately see Missed
8:18
Speaker 1: Tanner yelling at the pianist, accusing his dog of attacking
8:21
Speaker 1: the child, which leads to him leaving the school with
8:23
Speaker 1: him yelling he knows what happens at this school, and
8:26
Speaker 1: then we later witnessed his death as his dog gets
8:29
Speaker 1: spooped and kills him. Weird moment too. Also, there's a
8:33
Speaker 1: lot of foreboding stairs from the cops in this one,
8:37
Speaker 1: of course, we also see Sarah trying to figure out
8:40
Speaker 1: with Susie what the staff is doing, as they can
8:43
Speaker 1: hear footsteps down the hallways, only to realize thanks to
8:46
Speaker 1: Susie that they are not leaving but going somewhere unknown. Um.
8:51
Speaker 1: At the same time, we see that Susie can't stay
8:53
Speaker 1: awake and pass it out. Big sign of course, with
8:57
Speaker 1: Sarah being that nosy uh, bad time's come for her. Yes,
9:02
Speaker 1: after Susie accidentally outs her after telling Madame Blanc about
9:05
Speaker 1: what Pat said something about iris and secret Uh, Sarah
9:09
Speaker 1: tries to tell her what she found, including that she
9:12
Speaker 1: was meeting up with a friend to talk about some
9:13
Speaker 1: notes she had about the school. But as she's trying
9:17
Speaker 1: to tell Susie about everything, Sarah realized that Susie is
9:19
Speaker 1: completely passed out. She runs in fear and after a
9:23
Speaker 1: long dramatic moment of being cornered into a room, and
9:26
Speaker 1: I mean dramatic, y'all. She gets caught up in what
9:29
Speaker 1: I think is supposed to be barbed wire fence, but
9:31
Speaker 1: if you look at it closely, it's not. But it's
9:33
Speaker 1: still like I had the moment of a girl. No
9:37
Speaker 1: she's trapped um and then gets her throat slashed, very
9:41
Speaker 1: vivid scene. Next day, Susie discovers Sarah's rooms empty, and
9:45
Speaker 1: it's told that she left without telling anyone, and Susie,
9:48
Speaker 1: now suspicious, meets up with Sarah's friend, finds out about
9:51
Speaker 1: the history of which Is and some of the things
9:54
Speaker 1: that Sarah has been talking about through a professor that
9:56
Speaker 1: they both know, so that she has this long conversation
9:59
Speaker 1: about which is and the fact and the history of
10:02
Speaker 1: the school is long and dark and all my goodness,
10:05
Speaker 1: including the fact that he tells her that as long
10:07
Speaker 1: as the mother which is alive, all of them will
10:11
Speaker 1: be alive, so that you must kill the queen essentially
10:14
Speaker 1: to kill off the rest of them. So important information
10:18
Speaker 1: to know. And by the way, if you haven't seen
10:21
Speaker 1: this film, I had to tell any that each one
10:24
Speaker 1: of the actors speak their own language, so you have
10:27
Speaker 1: four different languages spoken, but because of those types of movies,
10:30
Speaker 1: they would just dub them according to where they were
10:33
Speaker 1: going to be seen. So you have an American actors
10:35
Speaker 1: speaking English while the German actors are speaking German, and
10:38
Speaker 1: they just dubbed over it. So it's really obvious and
10:41
Speaker 1: kind of confusing because you're like, but that's English, but
10:44
Speaker 1: that's not. I had that moment for a couple of times,
10:47
Speaker 1: and when I read that, I was like, oh, that's smart,
10:50
Speaker 1: cheapest way to do this. So yes, say, would just
10:52
Speaker 1: memorize each other's lines so they knew how to react.
10:55
Speaker 1: So when you see the German professor talking to the
10:58
Speaker 1: American actress, is very obvious, like huh, just so you know.
11:03
Speaker 1: So after Susie returns, she gets suspicious of the food
11:07
Speaker 1: as well, and she dumps all of it and then decides,
11:10
Speaker 1: after finding a note left by Sarah, to follow the footsteps,
11:13
Speaker 1: which leads her to Blanc's office, which has a blue
11:16
Speaker 1: iris that she knows about, uh, and she turns it
11:20
Speaker 1: opens it up to an eerie hallway, lots of writing,
11:22
Speaker 1: lots of weird chanting items everywhere. That leads her to
11:26
Speaker 1: the coven, where the staff are meeting and find out
11:29
Speaker 1: that not only are they all witches, but they're going
11:31
Speaker 1: to kill her that night, like they keep saying, kill
11:33
Speaker 1: the American, Kill the Americans, um. And she tries to
11:37
Speaker 1: find a way out and instead finds the Corps of
11:39
Speaker 1: Sarah really interesting thing, and find the director, who turns
11:44
Speaker 1: out to be Helena Marcos, who is the Queen of
11:47
Speaker 1: the coven or Mutter Suspiriorum or Mother of Size, who
11:51
Speaker 1: is part of the Three Witches Um. After Marcos six
11:54
Speaker 1: zombie Sarah onto her to kill Susie, Susie stabs Marcos
11:58
Speaker 1: so you can only see the out line of her,
12:00
Speaker 1: which causes the death of the entire coven and as
12:04
Speaker 1: she runs to leave the academy, the entire academy burst
12:07
Speaker 1: into flames, and that's the end, as we see her
12:10
Speaker 1: crying and we hear screaming in the background. So thin, yep.
12:17
Speaker 1: And we're going to talk more about the style differences
12:20
Speaker 1: and compare in contrast these movies, because Samantha and I
12:23
Speaker 1: came at it from a very interesting angle, I think,
12:26
Speaker 1: where we both saw the new one first, and so
12:29
Speaker 1: when I was watching the old one, it was interesting
12:32
Speaker 1: because I was kind of having the reverse of like, oh,
12:34
Speaker 1: Marcos and like trying to fit it into what I've
12:37
Speaker 1: seen in the new one and how that was going
12:39
Speaker 1: to match up, and most of it really doesn't match it,
12:45
Speaker 1: which I think, according to a lot of what we
12:48
Speaker 1: read was probably good for us because we didn't enter
12:51
Speaker 1: the new one like constantly comparing and sort of being disappointed.
12:56
Speaker 1: It sounds like, yeah, let's talk about the news Suspiria,
13:14
Speaker 1: and it was inspired by this, this nineteen version, but
13:18
Speaker 1: this is eighteen supernatural horror film directed by Luca guadno
13:22
Speaker 1: and written by David Casanis. I hope I'm getting it
13:26
Speaker 1: somewhat in the ballpark, And this movie was a long
13:29
Speaker 1: time coming. Guad Nino attained the rights from the original
13:34
Speaker 1: creators in two thousand eight, so it's ten years. The
13:36
Speaker 1: plot follows an American woman, Susie Bannon, played by Dakota Johnson,
13:40
Speaker 1: who enrolls in a dancing school in Berlin that is
13:43
Speaker 1: run by coven of witches. It also stars Tilda Swinton,
13:47
Speaker 1: who plays both the female lead choreographer and the male
13:50
Speaker 1: psychotherapist associated with the company, which, by the way, I
13:54
Speaker 1: saw this at a local theater, the Plaza. I believe
13:58
Speaker 1: there were several drinks in before I went. I did
14:02
Speaker 1: not know that that was to me, So it was
14:05
Speaker 1: supposed to be hidden. They even made a pseudonym for her, uh,
14:09
Speaker 1: in order to the identity. So it was purposeful that
14:12
Speaker 1: you weren't supposed to know. But then there was like,
14:14
Speaker 1: of course to the deep investigative people like nope, I
14:17
Speaker 1: gotta know, and then just blasted it. And it wasn't
14:19
Speaker 1: supposed to be told. It was supposed to keep you
14:21
Speaker 1: with suspense at that level of like, you're not supposed
14:24
Speaker 1: to know who this person is. And hopefully the intent
14:27
Speaker 1: was that she did such a great job and portraying
14:29
Speaker 1: this role and she does. Although for me when I
14:31
Speaker 1: first watched it, I was like, uh, that person looks
14:35
Speaker 1: off was with the mackup, Like I knew it was makeup.
14:38
Speaker 1: I just didn't know who. I remember looking it up,
14:41
Speaker 1: but it was. It was supposed to be a whole
14:43
Speaker 1: like hidden like Jim, but could not handle it, and
14:47
Speaker 1: so well, that makes me feel better than that wouldn't
14:51
Speaker 1: be the first time I've seen kind of a cerebral
14:53
Speaker 1: movie at the plaza with a couple of drinks and
14:55
Speaker 1: left later like uh, I didn't make since I just
15:01
Speaker 1: didn't get it and I don't know where the line is.
15:05
Speaker 1: The original film star Jessica Harper has a cameo in
15:08
Speaker 1: this as well. It is set up in acts and
15:12
Speaker 1: starts in nineteen seventy seven when Susie Bannon arrives in
15:15
Speaker 1: Berlin to audition for the Marcos Dance Academy. In part
15:18
Speaker 1: escaping her abusive mother, who refers to her as Sin incarnate.
15:22
Speaker 1: Susie makes friends with another student, well off Sarah, and
15:25
Speaker 1: at the same time draws the eyes of Adam Blanc
15:28
Speaker 1: Tilda Swinton Um, the artistic director and choreographer. But wouldn't
15:33
Speaker 1: you know it, there her arrival happens to be right
15:35
Speaker 1: as another student named Patricia went missing after she told
15:39
Speaker 1: a psychotherapist that the academy was run by a coven
15:42
Speaker 1: of witches who worships the Three Mothers. One of Patricia's friends, Alga,
15:47
Speaker 1: accuses the academy's patrons of being witches and being the
15:50
Speaker 1: culprits behind whatever happened to Patricia. Olga tries to make
15:54
Speaker 1: her escape, but get stuck in a room in the school.
15:57
Speaker 1: As she has trapped, Susie dances from Adam long and
16:01
Speaker 1: her movements after Madam Blanc does some kind of weird
16:04
Speaker 1: there's a lot of weird stairs in this one as well,
16:07
Speaker 1: where you're like touching, so you're like something happened here,
16:11
Speaker 1: some transparence happened. So as Susie is dancing, her movements
16:16
Speaker 1: are somehow inflicting damage on Olga, or that's what the
16:19
Speaker 1: cuts seemed to imply. Between the scenes, the matrons find
16:24
Speaker 1: her body and drag her away with hooks covin politics.
16:28
Speaker 1: There's a lot of coup of politics in here. The
16:30
Speaker 1: coven holds an informal election um deciding to stick with
16:34
Speaker 1: Helena Marcos as their leader. She's been the leader for
16:37
Speaker 1: a very long time, and they choose her over Block
16:40
Speaker 1: even while planning to use Susie as a host body
16:44
Speaker 1: for Marcos. Bit later, another matron kills herself, so a
16:49
Speaker 1: lot of unrest apparently going on, a lot of taking
16:53
Speaker 1: of sides. There was a whole thing with the because
16:56
Speaker 1: I was really confused. I was trying to figure this
16:57
Speaker 1: out because the entire time way always see the dancing
17:01
Speaker 1: of Susie and then the Alga being pretty much broken
17:04
Speaker 1: into pieces. The baitment is in horror like she you
17:07
Speaker 1: see her face as if she knows what's happening, but
17:10
Speaker 1: then we also see her unrest. We don't know what's
17:12
Speaker 1: happening with her internally, and why maybe she just finally
17:16
Speaker 1: had enough doesn't ever explain. I don't think it ever explains.
17:21
Speaker 1: And my interpretation of it was because I feel like
17:26
Speaker 1: a part of this whole movie. The thing is that
17:29
Speaker 1: this coven became corrupt and really lost sight of their
17:33
Speaker 1: whole thing, and they get punished at the end for it,
17:36
Speaker 1: which we'll talk about. And I felt like she was
17:40
Speaker 1: because she never says anything, even if I'm remembering quickly,
17:43
Speaker 1: She's just kind of always in this state of like
17:45
Speaker 1: watching in horror, and so I feel like maybe she
17:49
Speaker 1: just had this moment of like, yeah, opening her eyes
17:51
Speaker 1: and thinking, what have we done? What if we become?
17:54
Speaker 1: But I don't think it ever really explains it. I
17:59
Speaker 1: could be wrong, though, because again I've missed a lot
18:01
Speaker 1: of things the first time I watched it, and I
18:04
Speaker 1: did rewatch it for this but still there's a lot
18:06
Speaker 1: going on in this movie, and that's probably one of
18:08
Speaker 1: the biggest critiques of it is that it never really
18:09
Speaker 1: seems to decide what it wants to be. There's just
18:12
Speaker 1: so much happening, right, okay, but anyway, as blocksmant, Susie
18:18
Speaker 1: lands the starring role in Vulk. The psychotherapist, suspicious of
18:23
Speaker 1: the goings on at the academy, requests that Sarah help
18:25
Speaker 1: him secure Patress's journal so he can learn more about
18:28
Speaker 1: the events leading up to her disappearance. Sarah eventually disagrees,
18:32
Speaker 1: but in her search accidentally uncovers the inner sanctum of
18:35
Speaker 1: the academy that the coveny uses for their rituals. She
18:38
Speaker 1: recovers one of the hooks and takes it to the psychotherapist.
18:42
Speaker 1: Sarah later returns to the sanctum on the opening night
18:44
Speaker 1: of Vulk and finds Patricia shriveled and unwell. The matrons
18:49
Speaker 1: find Sarah and Condra hole in the floor that Sarah
18:52
Speaker 1: falls through, breaking her leg. She manifests in the middle
18:56
Speaker 1: of the performance of Volk, dancing her part in some
18:58
Speaker 1: sort of trance, but her and Susie's eyes seemed to
19:01
Speaker 1: change color while they're dancing, and Sarah collapses once her
19:06
Speaker 1: performances over. Afterwards, the company is eating to celebrate opening night,
19:11
Speaker 1: but the matrons but all the students except Susie in
19:13
Speaker 1: a similar trance. The psychotherapist gets rid of the evidence
19:16
Speaker 1: all around Patricia and goes home to each journey, only
19:19
Speaker 1: to find his long lost wife who went missing after
19:21
Speaker 1: the war. However, after talking for a bit, she disappears
19:24
Speaker 1: in the psychotherapist realizes he has been led back to
19:27
Speaker 1: the academy, where the Matrons are waiting for him. They
19:31
Speaker 1: take him to their sanctum where they lure Susie and
19:34
Speaker 1: do you see a disemboweled Patricia, Olga and Sarah and
19:38
Speaker 1: they start their ritual um. We also see Helena Marcos
19:43
Speaker 1: and she doesn't look good. Everybody look good. It's like
19:47
Speaker 1: a kind of like the Mermaid from Cabin in the Woods,
19:51
Speaker 1: just a bloated fish shop thing. Yeah yeah, yeah, okay.
19:56
Speaker 1: So Blanc attempts to intervene when it seems that Susie
20:00
Speaker 1: is ready to accept her fate as Marcus's host, but
20:03
Speaker 1: then reveals Susie then reveals herself to be Mother's Suspirium,
20:07
Speaker 1: one of the three witches that once from the Earth
20:10
Speaker 1: that the coven worships. She summons an incantation of death
20:14
Speaker 1: to kill corrupt Marcos and her followers in order to
20:18
Speaker 1: cleanse the academy, So everybody who voted for Marcos, that's
20:23
Speaker 1: the end um. They blow up. Yeah, just a spray
20:29
Speaker 1: of very bright red blood and a very red lit scene.
20:33
Speaker 1: Susie Slash Suspirium leads Patricia, Olga and Sarah into their
20:38
Speaker 1: desks as peacefully as possible. It's something that when she
20:41
Speaker 1: asked what you want, what they say they want while
20:43
Speaker 1: the students and matrons left alive dance in the background.
20:48
Speaker 1: The psychotherapist is released and Susie Slash Suspirium later apologizes
20:53
Speaker 1: to him, telling him how his wife actually died. She
20:56
Speaker 1: then erases his memories, causing a seizure. And that's yeah,
21:05
Speaker 1: very interesting. Well we come back to see coming back
21:08
Speaker 1: to life. Yeah, kind of it's like if they held
21:13
Speaker 1: her her neck in place, she was alive, but I
21:15
Speaker 1: don't know if like she breathed a sigh content and
21:22
Speaker 1: then the other witch who was helping Marcos is like
21:26
Speaker 1: she feels she feels it. So you see this like
21:29
Speaker 1: despair within the school because they announced Blank had left,
21:33
Speaker 1: but then is actually alive and you're like what. And
21:37
Speaker 1: then you see them cleaning the like all of the
21:41
Speaker 1: blood and such below and she's actually alive. So it's
21:45
Speaker 1: kind of like, what's happening. What's happening? Right, So there's
21:49
Speaker 1: this like kind of uneven ending. I think, you know how,
21:53
Speaker 1: I feel like this is how most horror movies go
21:55
Speaker 1: in order to like open up just in case it
21:58
Speaker 1: goes really well to come in. But I guess it
22:01
Speaker 1: didn't go very well. I don't know this later in
22:06
Speaker 1: the makings, who knows. Who knows. It took ten years
22:08
Speaker 1: after he bought the right, so maybe maybe not. It's true. Yeah,
22:12
Speaker 1: there's a lot to be said about both movies, and yeah,
22:15
Speaker 1: obviously both movies are very very different except for common
22:20
Speaker 1: thing throughout, and as Argento stated, when he was talking
22:25
Speaker 1: about the new remake coming, he wasn't too pleased. He
22:29
Speaker 1: essentially said, either you're gonna do exactly what was there,
22:33
Speaker 1: If you're remaking it and doing exactly what I did,
22:36
Speaker 1: so what's the point did you do that? Or you're
22:39
Speaker 1: going to do something completely different? And then how is
22:41
Speaker 1: this suspiria? So he made that statement in regards to
22:45
Speaker 1: the remake. I didn't see any reports after it was done.
22:49
Speaker 1: I don't know if you watched it or what, so
22:51
Speaker 1: if anybody wants to let me know because I didn't
22:53
Speaker 1: see an after reaction of the film, because obviously it
22:56
Speaker 1: is very different, so we wanted to do a quick comparison.
23:00
Speaker 1: Is the same name and similar in themes, so again
23:03
Speaker 1: we have common characters coming in. We have the American
23:06
Speaker 1: coming to a school in Germany, except the location has
23:10
Speaker 1: changed a little bit. There's more politics in the second
23:13
Speaker 1: one than the first one, obviously definitely different in its
23:17
Speaker 1: intent and presentation, including the fact that the first one
23:21
Speaker 1: is a part of a trilogy, which is a part
23:24
Speaker 1: of what was written I believe by Thomas D. Quincy,
23:28
Speaker 1: who did I believe the concept of the Three Mothers.
23:33
Speaker 1: So the three witches in this one again originally part
23:36
Speaker 1: of the trilogy three three Mothers. This is what the
23:39
Speaker 1: fandom sizes us. This piece asserts that just as there
23:42
Speaker 1: are three faiths and three graces, there are three sorrows
23:46
Speaker 1: Matter Lackrimm, our Lady of Tears, Matters, Suspirium, our lady
23:50
Speaker 1: of size and matter, Tenant bad Room, our Lady of darkness.
23:54
Speaker 1: So her AGENTO did three movies, including Suspiria, which is
23:59
Speaker 1: what we Inferno and The Mother of Tears. Um I
24:03
Speaker 1: have not seen the other two, have you Nope, I
24:07
Speaker 1: have not. Okay, So there is an intent behind the entirety,
24:12
Speaker 1: and we do talk about that in the first one.
24:14
Speaker 1: Does it talk about in the second one? It does. Yeah,
24:16
Speaker 1: they talked about the three mothers in there, but I
24:18
Speaker 1: think it's very like brief passing. And then obviously this
24:24
Speaker 1: one is too. I think it's very brief. Is the
24:26
Speaker 1: German professor explaining what's happening, and the queen and mother,
24:29
Speaker 1: but Marcos is the center. And that's kind of the
24:32
Speaker 1: difference is that Marcos is already seen as matters Suspirium
24:36
Speaker 1: in the first one, and obviously she's not in the
24:40
Speaker 1: second one. She's just a person, yes, right, She's like
24:46
Speaker 1: the corrupt person who's lost their way and believes are
24:51
Speaker 1: uses a name like Suspirium to do what they want
24:55
Speaker 1: to do and to have power and power over others,
24:57
Speaker 1: but really has lost the original intent and it is
25:01
Speaker 1: kind of like blasphemously using this name. She was not happy.
25:07
Speaker 1: She was not happy. She was she was kind of
25:12
Speaker 1: an anti hero in that she was trying to put
25:15
Speaker 1: back what was wrong, as in like some of the
25:18
Speaker 1: things like including the fact that she took that memory
25:21
Speaker 1: from the psychoanalysis the doctor because she was like, we
25:25
Speaker 1: did not mean I regret what my daughters have done
25:27
Speaker 1: to you, was what she says to him. And I'm like, huh,
25:30
Speaker 1: that's an interesting justice level of takes. Yeah. I mean,
25:37
Speaker 1: I think the movie is the new one. The remake
25:40
Speaker 1: is really uneven, but there are parts I really like
25:43
Speaker 1: of it. And I do really like the kind of
25:46
Speaker 1: primal modern dancing that feels really like it's very yeah, visceral,
25:53
Speaker 1: and it feels just very kind of yeah, primal. And
26:00
Speaker 1: so in the end when it reveals her, there's kind
26:05
Speaker 1: of like this level of you know, this is when
26:09
Speaker 1: these witches what this earth? It was a much more
26:11
Speaker 1: like primal violent time where her sense of balance seems
26:16
Speaker 1: to be I'm killing you because you've been using the
26:20
Speaker 1: right for these things. It is really interesting because that
26:26
Speaker 1: the new one is almost all women, right, right, right?
26:32
Speaker 1: I agree. So there's a couple of things I wanted
26:34
Speaker 1: to talk about between the two movies on that, but
26:36
Speaker 1: you just brought up, including dance. And I think it's
26:38
Speaker 1: very obvious that in the first one it's just a
26:41
Speaker 1: plot point. You just have somewhere to go. This is
26:44
Speaker 1: set up here we go. In the second one, it
26:46
Speaker 1: actually becomes a character. It becomes a part of the
26:49
Speaker 1: actual movie as it is a character in itself, because
26:52
Speaker 1: they use dance as a form of casting spells. And
26:56
Speaker 1: I found that very necessary because at the end with
26:59
Speaker 1: the whole ritual where you see them do that, but
27:02
Speaker 1: when she does the whole actual performance in front of
27:04
Speaker 1: the audience, so that is also invoking the spirit and
27:07
Speaker 1: bringing a whole thing, including again Dakota Johnson's and ursuits,
27:11
Speaker 1: these character dancing alone and feeling all of that and
27:14
Speaker 1: talking about how it's gonna make our sick and just
27:16
Speaker 1: overall exhaustion. But it actually broke a person's body, like
27:20
Speaker 1: that's what it did to her with like every pool,
27:23
Speaker 1: every tug, like the vast differences caused enough critics to
27:27
Speaker 1: be like, Okay, we didn't love the second movie, but
27:30
Speaker 1: we love the dance portion in this movie. And I
27:33
Speaker 1: thought it was beautiful because also she is the mother
27:37
Speaker 1: of size, and throughout the movie there's no music tied
27:41
Speaker 1: into the dance. It's all heavy breathing and it sounds
27:44
Speaker 1: like yeah within the movie, and I found that very
27:49
Speaker 1: like telling as a person who loves modern dance, So
27:53
Speaker 1: obviously you have a ballet studio versus modern dance studio,
27:56
Speaker 1: and then it's very different in form, graceful and beautiful
27:59
Speaker 1: in both, but this interpreted level of this instead of
28:03
Speaker 1: just performance in this other way of using it in
28:06
Speaker 1: the movie where you see her literally fleeting through one
28:11
Speaker 1: thirty second part to the film as versus whole scenes
28:15
Speaker 1: beautifully choreographed dancing that is very vastly different, and how
28:20
Speaker 1: he's focusing the art and the color of the dance.
28:24
Speaker 1: Did you think that, Yeah? Yeah, And I think it
28:29
Speaker 1: was it was so almost violent of a style of dancing,
28:33
Speaker 1: and I liked, like the silence was unnerving and it
28:36
Speaker 1: just felt so like kind of jerky but powerful, and
28:40
Speaker 1: those discussions around like physical limitations and having to push
28:45
Speaker 1: yourself and jump higher and higher up the floor and
28:47
Speaker 1: then having that juxtaposed against like a broken body from
28:52
Speaker 1: from this style of dancing. And again, like there's so
28:56
Speaker 1: many things in this movie where I'm like, am I
28:58
Speaker 1: reading into this too much? But it's like, you know
29:01
Speaker 1: that kind of physicality of dancing and how it does
29:04
Speaker 1: often leave people broken or hurt or injured and have
29:08
Speaker 1: these things and that for this art there is a
29:12
Speaker 1: danger behind it, even though I think a lot of
29:14
Speaker 1: people see it as sort of frivolous, and I like
29:16
Speaker 1: that that jectiposition as well. Of like dancing women is
29:20
Speaker 1: seen as often like kind of a quote freely thing,
29:24
Speaker 1: pretty thing, but this was very much like the opposite
29:27
Speaker 1: of that. It felt like dangerous and violent and intense.
29:30
Speaker 1: And then they talked about that Susie actually broke the
29:34
Speaker 1: spell because she kind of just alternated from the routine,
29:38
Speaker 1: which is what made Sarah collapse because she wasn't doing
29:43
Speaker 1: the actual full dance. And they have a whole conversation
29:45
Speaker 1: in her dream, which we need to talk about the
29:47
Speaker 1: dreams later on, but in her dream having a talk
29:50
Speaker 1: with Blanc about the fact that she broke the spell
29:53
Speaker 1: and she knew it, but she couldn't stop what she
29:55
Speaker 1: was doing even though it was going against the choreography,
29:58
Speaker 1: so it broke the trance essentially what she's talking about.
30:02
Speaker 1: But of course that is a big again character point
30:05
Speaker 1: in that movie as versus the old movie. That was
30:09
Speaker 1: not a focus. They did not care about the dance,
30:11
Speaker 1: and that's fine because it was literally made as a
30:13
Speaker 1: plot point. Move on, here's a scenery. We're setting this up.
30:17
Speaker 1: Although we do see one class in the pianist, so
30:19
Speaker 1: we see that in the original. But speaking of the pianist,
30:22
Speaker 1: as you talked about, so the in the first movie,
30:26
Speaker 1: there are men in there. So you see the young
30:28
Speaker 1: man who is helping her move into the place, and
30:31
Speaker 1: he apparently is the go boy for Madame Blanc is
30:35
Speaker 1: how they say. Essentially, he doesn't have enough money to
30:37
Speaker 1: pay for dorm, so what he does is servitude to
30:40
Speaker 1: Madame Blanc in order to stay. And then you see
30:43
Speaker 1: the pianist, who obviously makes enemies of them, and it's
30:46
Speaker 1: just there. Then you have the large guy with new teeth.
30:50
Speaker 1: I guess he's like the butler character and is quiet
30:53
Speaker 1: and is just there. And then you have the young
30:56
Speaker 1: man and the doctor and then the outside two outside
31:00
Speaker 1: characters that are friends with Sarah. But if you look
31:04
Speaker 1: at the way they use men in this, they're all subjugated.
31:07
Speaker 1: They are all servants and or in uh, some type
31:10
Speaker 1: of labor intensive to the women there. And they do
31:14
Speaker 1: the dirty word because in the first scene you see
31:17
Speaker 1: the hairy arm, not that women can't have hairy arms,
31:20
Speaker 1: but I think it's intent to be like, this is
31:21
Speaker 1: a man carrying this out and when we see the
31:24
Speaker 1: scene with Susie finding that someone is trying to come
31:27
Speaker 1: get her is the dude with the teeth who never speak.
31:30
Speaker 1: So the very limited amount of things that are there,
31:33
Speaker 1: but they still have the men there in that scene,
31:37
Speaker 1: which I think is a striking contrast to the second
31:39
Speaker 1: one where even the one main male character is not
31:42
Speaker 1: actually a man, right right, right right, And there's that
31:46
Speaker 1: whole seeing where the male police officers come and then
31:53
Speaker 1: one of them is putting in a trance and Susie
31:55
Speaker 1: sees them like with the govin like taunting him with
31:58
Speaker 1: the hook around his petas it is like, oh my god,
32:01
Speaker 1: what am I watching? I was not expecting this, But yeah,
32:05
Speaker 1: I just I find that so interesting because I've one
32:11
Speaker 1: of the main messages I keep coming back to that
32:13
Speaker 1: movie to me is corruption and I like having this
32:16
Speaker 1: you know, organization that is all women, but they are
32:20
Speaker 1: you know, abusing their power. They are after youth and
32:26
Speaker 1: kind of like taking these younger bodies of women, and
32:29
Speaker 1: there's just kind of these power dynamics and structures and
32:32
Speaker 1: in both of these, you know, even the men, the
32:36
Speaker 1: men play like the lesser role that I think a
32:39
Speaker 1: lot of times we get or like some people get
32:42
Speaker 1: mad about when they're like, men have no roles, Like
32:44
Speaker 1: that's what women have been doing in horror movies forever.
32:46
Speaker 1: It's like having these background roles. But that being Tilda's
32:50
Speaker 1: when as the psychotherapist is interesting because I it's the
32:56
Speaker 1: fact that he is sort of throughout you have sympathy
32:59
Speaker 1: for him, and he's the one that's trying to investigate
33:02
Speaker 1: into this coven. And then he had the one yes,
33:05
Speaker 1: gets apologized to is spared for what all these women
33:10
Speaker 1: have done. I just find very very interesting, right, interesting, right,
33:16
Speaker 1: And I think it's of course again purposely done. And
33:31
Speaker 1: then a couple of other things I was thinking about. Two,
33:33
Speaker 1: the use of color very different. So our is absolutely
33:37
Speaker 1: all about bright colors, and each color is almost like
33:41
Speaker 1: a framework of what's about to happen, even to the
33:44
Speaker 1: fact that he obviously I don't know if it's the
33:47
Speaker 1: technicolor bit and and like they came in and put
33:49
Speaker 1: color in it later or trying to adjust that. Maybe
33:52
Speaker 1: I watched it remastered in the four K type of thing,
33:55
Speaker 1: and I'm like, wait, what because the blood looks actually
33:57
Speaker 1: like paint that he wanted it so vibrant, that is
34:00
Speaker 1: over the top the glass in the first scene where
34:03
Speaker 1: she falls through is a very brightly colored and beautiful.
34:06
Speaker 1: Even the wine that she can't get the stains out
34:09
Speaker 1: of it looks like thick paint onto the sink. Uh.
34:13
Speaker 1: He really wants a different and she ate the blood
34:16
Speaker 1: versus whatever else is there. But he wants you to
34:18
Speaker 1: see that blood for sure. And I found that interesting
34:21
Speaker 1: that because he's very Italian. To me, that's very Italian
34:25
Speaker 1: level of like the bright colors as what brings the
34:27
Speaker 1: horror in this type of movie, as opposed to the
34:31
Speaker 1: second one, which is very muted except for the moments
34:34
Speaker 1: that are supposed to kind of shock you. Yes, yes,
34:37
Speaker 1: And I loved the color and the old one it
34:40
Speaker 1: was very striking. It was very very striking. Uh. And
34:44
Speaker 1: I would just catch because a lot of the scenes
34:45
Speaker 1: go on for a minute, like you said, there's a
34:48
Speaker 1: lot of like staring or like it'll it'll linger in
34:51
Speaker 1: that color for a minute, and you're like, it's kind
34:55
Speaker 1: of trippy almost. In the new one, it is very
34:59
Speaker 1: And that was of the big complaints people had, was
35:02
Speaker 1: like it's so muted, it's so neutral except for yeah,
35:05
Speaker 1: like I would say red, like spikes of red when
35:08
Speaker 1: there's violence, and especially in that end scene where Suspirium
35:14
Speaker 1: is punishing the people and Marcus's crew, and it's like
35:19
Speaker 1: the whole thing is red. The lights are red, people
35:21
Speaker 1: are exploding red. By the way, everyone's naked. I don't
35:25
Speaker 1: think I mentioned that. Yes, there's a lot of nudity
35:28
Speaker 1: in the second one, yeah, but other than that there, yeah,
35:34
Speaker 1: there really isn't that much color, right, except again the
35:39
Speaker 1: little dream sequence where they're supposed to be like a
35:42
Speaker 1: floating I guess colorful rainbow rainbow, and I feel like
35:49
Speaker 1: he did that on purpose. He also likes to do
35:51
Speaker 1: the slow scene where it slows down drags a little
35:54
Speaker 1: bit when they're supposed to be either in I guess
35:57
Speaker 1: conversation with each other through their minds. Is that what's happening,
36:02
Speaker 1: because like even at the end where she says, what
36:04
Speaker 1: do you want? They're not speaking. But it's very floaty
36:09
Speaker 1: as well as the scene is very and I'm doing
36:11
Speaker 1: a gesture with my hands, y'all. That's like a floaty,
36:13
Speaker 1: wavy thing, like al was that trippy? That's the second one.
36:16
Speaker 1: We don't see that at all. The first one you
36:18
Speaker 1: see some black shadows, you see the eyes and then
36:21
Speaker 1: you see, uh, when Marcos disappears, because you really never
36:24
Speaker 1: see too much of Marcos except for at the very
36:27
Speaker 1: end word they die, and you see it the knife
36:31
Speaker 1: protruding on the back of her neck, but the outline
36:34
Speaker 1: of hers in gold, sparkly gold. Yeah, I wasn't expecting that, right, right,
36:43
Speaker 1: And then, like I will say, also the difference with
36:46
Speaker 1: and as I'm talking about the final scene the Final Girl,
36:50
Speaker 1: I will say I did like the fact that the
36:53
Speaker 1: new movie did not follow that trope to the core.
36:56
Speaker 1: He wanted a completely different final girl where we in
37:00
Speaker 1: the original. It is absolutely his every mark of the trope. Again,
37:04
Speaker 1: though he put a like he was kind of the
37:07
Speaker 1: standard at that point of those gruesome horror movies that
37:10
Speaker 1: he set up a whole new context and waited to
37:13
Speaker 1: do this film, and so it wasn't so tropy that
37:17
Speaker 1: it was more original to have this girl survived, which
37:20
Speaker 1: typically yeah, most of the girls don't always survive, and
37:23
Speaker 1: it's like, what just happened? And she ends up being
37:25
Speaker 1: the hero of it too, which is the final girl.
37:28
Speaker 1: But yeah, yeah, and in the new one, it was
37:32
Speaker 1: interesting to watch it because this was the only the
37:34
Speaker 1: second time I've seen it So the first time I
37:36
Speaker 1: watched it, I was like, wait, what, right, she's the witch?
37:40
Speaker 1: Wait what she's killing everybody? Because she is a very
37:44
Speaker 1: demure like she she comes from Mennonite community and her
37:49
Speaker 1: mother was abusive and she's just really quiet. So it's
37:52
Speaker 1: quite a flip. I mean, she definitely has moments where
37:55
Speaker 1: she'll stand up for herself and say like no, I
37:57
Speaker 1: want to do the dance like this, or but it's
37:59
Speaker 1: still sort of painting it as a way where she's
38:01
Speaker 1: backing down almost, or she can't do the physical thing
38:05
Speaker 1: that's being asked to her, so she's trying to get
38:07
Speaker 1: around it. But when you rewatch it and you're like, huh, okay,
38:14
Speaker 1: she was really playing that role of this is the
38:17
Speaker 1: problem that she had or one of the problems you
38:19
Speaker 1: had with how corrupt the organization was. It's like, look
38:22
Speaker 1: if I had been this young girl and come in
38:24
Speaker 1: and this is what you expected me, and then you're
38:29
Speaker 1: gonna use my body and that's not right. It wasn't
38:32
Speaker 1: that she was always the witch. It was that she
38:34
Speaker 1: finally she accepted the witch and it was a different
38:36
Speaker 1: role than they expected. Correct, That's what I think the
38:40
Speaker 1: first time I saw it I thought she was just
38:42
Speaker 1: the witch the whole time and was missing and was
38:44
Speaker 1: really confused. I was like, wait, why would they do
38:46
Speaker 1: because they do the whole uh flashbacks with her childhood
38:50
Speaker 1: as a minnit and I'm like being accepted and her
38:56
Speaker 1: mother says she's evil and she brought evil into the world,
38:59
Speaker 1: and I I thought that maybe it was because her
39:02
Speaker 1: mom was insinuating I don't know why, or maybe she
39:05
Speaker 1: was raped and or had extramarital affair and so therefore
39:09
Speaker 1: she was created out of evil. But then I'm going back,
39:12
Speaker 1: I'm like, oh, maybe she just saw evil in her
39:14
Speaker 1: because she wouldn't obey. Yeah, because she, like I said,
39:18
Speaker 1: she calls her evil incarnate. And I think the first
39:20
Speaker 1: time I saw it, that's what I thought too, was like, oh,
39:23
Speaker 1: she was born something weird about her birth, and she
39:26
Speaker 1: was always this. I mean maybe there's a part of
39:28
Speaker 1: that too. Maybe it's she did kind of it was
39:31
Speaker 1: always this vessel and she did just have to accept it. Right. Yeah,
39:36
Speaker 1: a lot going on, as we said, right. I was like,
39:39
Speaker 1: I said, I wonder if they're supposed to be a
39:40
Speaker 1: two and it just never got funded or it's in weight,
39:44
Speaker 1: who knows, it's only the three years. Last time, I
39:46
Speaker 1: take him ten years. But yeah, and I will say
39:48
Speaker 1: Jessica Harper was one of the big reasons that this
39:52
Speaker 1: movie was so successful. She she really put on this
39:55
Speaker 1: whole different role. Apparently they talked about her dide, sweet demeanor,
40:01
Speaker 1: being small and coming in as the genuinely kind American,
40:05
Speaker 1: suspicious of everyone from jump uh be, feeling like she's
40:10
Speaker 1: an outsider, all those things. They do talk about her aunt,
40:14
Speaker 1: I believe being from the studio as well, So I
40:17
Speaker 1: wonder if she knew everything that was going on whatever whatnot.
40:21
Speaker 1: Um to the point that when we were talking about
40:23
Speaker 1: the dubbed over speeches for whichever country was released, apparently
40:28
Speaker 1: Argenta was not happy with the Italian dub over because
40:31
Speaker 1: they lost Jessica Harper's voice and her voices. Uh he
40:35
Speaker 1: really loved her voices, very pleasing, so cool, cool cool
40:39
Speaker 1: f y. I she was also a cameo. I think
40:42
Speaker 1: we already talked about that in the other movie. But
40:45
Speaker 1: what made me laugh was like, she's speaking German. Who
40:49
Speaker 1: she was an American, the only American girl in this one,
40:52
Speaker 1: and they flipped her, decided to make our German as
40:54
Speaker 1: a cameo and she looks beautiful, like, oh my god,
40:57
Speaker 1: she has not really changed. She I absolutely see. But
41:00
Speaker 1: that is Jessica Harper. She was absolutely familiar to me
41:03
Speaker 1: because I think she'd been in some other seventies movies.
41:06
Speaker 1: But I was like, oh, who she is. Yeah. It
41:12
Speaker 1: was fun to watch these because I watched them back
41:14
Speaker 1: to back. But I should have started with the old one.
41:17
Speaker 1: I started the new one and then did the old one.
41:20
Speaker 1: But then I'm like, I'm gonna have to rewatch and
41:22
Speaker 1: see if there are any connections because now I'm thinking, well,
41:24
Speaker 1: what if they are meant to be connected and it's
41:26
Speaker 1: just messing with my head. I think it's meant to
41:28
Speaker 1: mess with your head the second one, for sure. Right
41:31
Speaker 1: that being said, there were a couple of things I
41:32
Speaker 1: wanted to touch on really quickly about the New one,
41:36
Speaker 1: and one of them is motherhood. So you know, you've
41:39
Speaker 1: got these mother witches who are kind of watching over
41:41
Speaker 1: these younger girls or are at this academy. Um, there's
41:44
Speaker 1: a stitched pattern in the beginning that says a mother
41:48
Speaker 1: is a woman who can take the place of all others,
41:50
Speaker 1: but whose place no one else can take, which, given
41:54
Speaker 1: the how the Kevin politics go and how superior Um
41:58
Speaker 1: turns out m interesting. But also I didn't I hadn't
42:03
Speaker 1: really thought about it this way. But when I was
42:05
Speaker 1: researching it, I read an article about how kind of
42:09
Speaker 1: like this was about picking favorites, like a mother picking favorites.
42:14
Speaker 1: And it was one of those articles that I agreed
42:18
Speaker 1: with but upset me because it's like, yeah, you know,
42:20
Speaker 1: parents have favorites, even if they would never admit it.
42:22
Speaker 1: There is one and this is like you see the
42:24
Speaker 1: matrons pick like oh, Susie is the one, or oh
42:27
Speaker 1: Patricia is the one. Oh Patricia. It is down so
42:30
Speaker 1: about you know, just all of these things and how
42:33
Speaker 1: those power dynamics play out. A lot of the corruption
42:40
Speaker 1: is is a part of that of like playing this
42:42
Speaker 1: game and picking these favorites, whether it is the dancers
42:46
Speaker 1: or it is the Matrons who will be the leaders um.
42:50
Speaker 1: And there's a lot of like abuse of power happening,
42:55
Speaker 1: a lot of questioning around ambition and especially around ambition
43:01
Speaker 1: at any price and when it means like taking a
43:05
Speaker 1: host body. I think that was one of the things too,
43:07
Speaker 1: is they kind of revel in it, like they're laughing
43:10
Speaker 1: when they use these hooks, and that's That's one of
43:13
Speaker 1: the things where I was like, it's just a really
43:15
Speaker 1: fascinating take on if you talk about, which is all
43:19
Speaker 1: the time on the show, all the time, how it's
43:21
Speaker 1: kind of this fear of women and women in power,
43:24
Speaker 1: women with ambition, but this is like that. But then
43:28
Speaker 1: it went wrong, like then it got correct and messed up.
43:32
Speaker 1: There are no men to speak up. Really, this was
43:35
Speaker 1: them right doing it. And again in the older movie,
43:40
Speaker 1: there's no real theme of motherhood there. They do not care,
43:44
Speaker 1: they don't they don't really connect with any of them.
43:47
Speaker 1: You have more of like rivalry against the women, but
43:50
Speaker 1: also friendships with the women. So it was really kind
43:52
Speaker 1: of like who is whom and a lot of distrust. Yeah, yeah,
43:57
Speaker 1: because I don't think any of the girls escape that fire.
44:00
Speaker 1: I don't think they did either. I think it was
44:03
Speaker 1: only Susie. Only Susie and what does she tell everyone
44:07
Speaker 1: after the right And then I did briefly want to
44:12
Speaker 1: touch on at the end when Susie Suspirium is asking Patricia,
44:19
Speaker 1: Olga and Sarah, you know, she's kind of granting them
44:22
Speaker 1: this wish and they all say, she says, what do
44:25
Speaker 1: you ask? And they all say, we're so tired, we
44:27
Speaker 1: want to die. And this is another instance where I
44:30
Speaker 1: think I could be reading too deeply into it, but
44:32
Speaker 1: it sort of felt like just being stuck in this
44:37
Speaker 1: kind of abusive system that is just going to use
44:40
Speaker 1: you and abuse you and throw you away and hurt
44:42
Speaker 1: you and cause you all this pain, and your way
44:45
Speaker 1: out is death, Like all they have, all the suffering,
44:48
Speaker 1: and they choose death. And I feel like that's a
44:51
Speaker 1: theme you see a lot in horror movies where there's
44:54
Speaker 1: a system, whether it's like patriarchy or white supposed to
44:58
Speaker 1: ultimately and you can't get out of it, like you
45:01
Speaker 1: try and try or try, and you can't get out
45:03
Speaker 1: of it, and the only way out is de right,
45:07
Speaker 1: just very there was one portion that I was very
45:11
Speaker 1: confused by. Maybe I read it too wrong. When they
45:15
Speaker 1: get the doctor, they tricked him by having that image
45:18
Speaker 1: of his wife reappear when they drug him. They scream
45:23
Speaker 1: at him about a not believing women Patricia when she
45:26
Speaker 1: came to him about everything that was wrong and he
45:28
Speaker 1: didn't believe her, or be leaving women behind, And I thought,
45:31
Speaker 1: and they actually say that to him, and I was like,
45:35
Speaker 1: I mean, it's true. He did both of those things
45:38
Speaker 1: but not necessarily in all in that context, like it
45:41
Speaker 1: was an interesting way of like, we're gonna punish you
45:43
Speaker 1: for this, And then kind I was like, is he
45:47
Speaker 1: trying to make fun of women saying these things and
45:51
Speaker 1: blame on one not so innocent man, but a man
45:55
Speaker 1: that we were sympathetic too. So I was like, I
45:58
Speaker 1: don't know if he's actually being in cheek too feminists,
46:01
Speaker 1: but he's actually being honest, Like I don't know what
46:04
Speaker 1: he's doing. Yeah, yeah, because it could be like, you know,
46:10
Speaker 1: another commentary on how hypocritical they're being and how far
46:14
Speaker 1: they've lost their way, which could be I don't know
46:18
Speaker 1: this guy, and it could be his critique on like feminism,
46:23
Speaker 1: or you know, in a weird way, it could be
46:25
Speaker 1: they really did believe that and it was true and
46:29
Speaker 1: they were mad about it, but not mad enough to
46:32
Speaker 1: care of Essentially one of those things. They were gaslighting
46:35
Speaker 1: Patricia pretty hard. No one would believe her they were
46:39
Speaker 1: truly trying to kill her because they wanted her body,
46:42
Speaker 1: So it's kind of like, why would you blame that
46:44
Speaker 1: on him? Yeah? I think they were very That's my
46:48
Speaker 1: biggest takeaway from that movie is they were very hypocritical.
46:51
Speaker 1: And they were corrupt and they had just like totally
46:54
Speaker 1: lost sight of what they purported to be doing, which
46:59
Speaker 1: was worshiping these three riches, that they were doing it
47:01
Speaker 1: all the wrong way, only for power. Well, so that
47:10
Speaker 1: is our discussion. We had a lot of thoughts. We
47:12
Speaker 1: did we did. I mean, it's two movies, and two
47:15
Speaker 1: very unique and interesting movies with a lot of obviously
47:20
Speaker 1: interpretation that you can I don't know if you know this.
47:24
Speaker 1: I'm gonna throw this in there. Apparently the original Suspiria
47:27
Speaker 1: was such an influence, especially with their music the Goblin.
47:31
Speaker 1: Their theme was huge, and it's still very recognizable today
47:34
Speaker 1: and it's still used in several different like intros. Apparently
47:38
Speaker 1: people use that for their intros because they love it.
47:40
Speaker 1: The movie made such an impact that rock bands, including
47:43
Speaker 1: Smashing Pumpkins, used that name because of his whrror like
47:47
Speaker 1: he influenced rock and roll in a weirdly dynamic way
47:52
Speaker 1: and unexpected and I do like, I think it's such
47:54
Speaker 1: a contrast again to the newer movie. And we didn't
47:58
Speaker 1: talk about that that he uses that type of music
48:00
Speaker 1: and he did it purposefully to mess with you, like,
48:03
Speaker 1: to mess with that soundscape, and it hit because we've
48:06
Speaker 1: kind of heard those same like beats and sounds to uh,
48:10
Speaker 1: let's say Halloween or we hear uh he like the
48:17
Speaker 1: it brought that like I don't know what came Yeah, yeah,
48:20
Speaker 1: like the Psycho was the original, Yeah, it's the original,
48:23
Speaker 1: but like that kind of had that whole power dynamic
48:26
Speaker 1: within it um and that conversation of this type of
48:28
Speaker 1: style of the loud and screechy and you're like what
48:31
Speaker 1: is happening to the very like almost silence of the
48:36
Speaker 1: newer one. The sounds were very, very purposeful, but he
48:39
Speaker 1: used Argenta used music purposely to mess with individuals and
48:44
Speaker 1: it it was a whole thing. It's a whole thing
48:46
Speaker 1: still when people hear that music. So I thought was
48:50
Speaker 1: there Yeah, yeah, No. I thought the music choices were
48:53
Speaker 1: interesting in both of them. And I love that kind
48:56
Speaker 1: of stuff. I love like the entertainment and art of
48:59
Speaker 1: scaring people fascinating. Yeah. But speaking of listeners, if you
49:05
Speaker 1: have any topics that you would like us to cover,
49:08
Speaker 1: please email them to us that you can do that
49:10
Speaker 1: at Stuff Media, mom Stuff at iHeart media dot com.
49:13
Speaker 1: You can find us on Twitter at mom Stuff podcast
49:15
Speaker 1: or on Instagram at stuff I've never told you. Thanks
49:17
Speaker 1: as always you are super producer. Christina, Thank you and
49:21
Speaker 1: thanks to you for listening. Stuff Owner told your prediction
49:23
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Speaker 1: the iHeart Radio app Apple podcast. I'll ready listen to
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Speaker 1: your favorite shows.