For this very special back-to-school episode, Andrea and Alex are joined by the one and only Stacie Ponder to dig into the depths of Luca Guadagnino’s remake of Dario Argento’s classic. From the dance of politics to the dance of sexuality, there’s more under the floorboards of the Markos Dance Academy than meets the eye.
For more Stacie, check out her blog Final Girl, her column Devil’s in the Details in Rue Morgue, and her Twin Peaks recap podcast series with Mike Muncer, The Detective and the Log Lady.
Check out our Class of 2024 merch! Artwork by the incredible Candice Purwin.
REQUIRED READING
Suspiria. Dir. Luca Guadagnino, 2018.
EXTRA CREDIT
40 Years of German Autumn. An overview of the left-wing terrorist attacks that rocked the nation.
Gaylords of Darkness podcast – ep 82
Hannah Arendt’s challenge to Adolf Eichmann. The banality of evil, in context.
LISTEN
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I was surprised you mentioned Somalia as being a place where such attacks took place. From what I can tell, a plane seized elsewhere was redirected to Mogadishu.
There are some effective sequences, but I found it decidedly inferior to the original. Not having a single protagonist makes the story more diffuse, the stakes of a factional struggle within the coven just aren’t interesting, the color scheme is muted, and Thom Yorke’s score is similarly forgettable.
Klemperer is not “the main guy”, but too much of the film treats him like he is, giving him the investigating role.
I don’t believe folk dancing was banned in Europe during the witch trials.
One of the reasons I agree with director William Wyler that his bowdlerized “These Three” is superior to his more faithful remake “The Children’s Hour” is because of that cliched ending your guest complains about.
A rule of thumb is that if everything is X, then nothing is X. Information is “the difference that makes a difference”, so you provide no information if you give the same conclusion for every input.
The big tragedy of a planned Three Mothers series is that “Tenebrae” was used as a title for a completely separate movie.
Small correction – I think Arendt was writing about the Eichmann trial for The New Yorker (rather than NYT).