suspiria (1977 set design)

As for the space occupied by Swinton’s character Madame Blanc—she also plays two other roles, in physiognomy-disguising special effects—it is the only Suspiria interior that has a sense of faded luxury, decked out with plush fabrics by Dedar, the innovative Milanese textile firm that is one of Guadagnino’s go-tos, for not only his film productions but also his equally atmospheric interior design projects. “I think we did an extremely good job, but it is impossible to compare even the best digital master to a film printed with Technicolor’s dye-transfer process, especially for a film as extreme as Suspiria!”. “I worked with a very talented colorist, Fabrizio Conti, and we tried to stay as close as possible to the look of the original,” he says. Guadagnino has relocated Argento’s tale to Berlin in the 1970s, an uneasy time in the city’s existence, given the presence of the Berlin Wall and the fearful Baader-Meinhof Group, a terrorist organization whose murderous exploits reached a height in the fall of 1977 with the hijacking of a Lufthansa flight, an episode that gripped the nation and which haunts Suspiria through archival news reports that are played on radio and television. Inspired in part by the Technicolor grandeur of Walt Disney’s Snow White and the Seven Dwarfs (1937), Argento wanted to achieve a palette rich with primary hues and deep blacks. For Tovoli, the Konigsplatz Square offered a tremendous lighting challenge. “After my first conversation with Argento, I vaguely imagined how to technically achieve this radical departure from my previous lighting style, but also, I needed to know if I had truly abandoned naturalism,” he says. I’m tempted to call the fire brigade!

Soon, someone calmly explained to me that this was not possible for multiple reasons, and I was forced to find an alternative method of lighting the actors’ faces and, to an extent, the backgrounds, with the strongest possible light as close to the subject as possible. In the sequence, blind pianist Daniel (Flavio Bucci) and his guide dog enter the vast Konigsplatz Square at night, the pale gray stone of the surrounding buildings starkly set against the darkness. I am not ready to forget his friendly smile as he listened to my apparently absurd proposal!” Also, for the matrix printing of the cyan layer, lab technicians used a special filter that was more selective for the color red, which was particularly complicated to render in the dye-transfer process but also a key component of Suspiria’s palette. Of course, we got quite excited about the shot and pushed the special mechanical effect responsible to delay the release of the hook at the very last possible second.” The resulting POV effect adds an ingenious sense of menace to the already flamboyant scene. (As a gauge of how frightening it is, my hands went over my eyes several times.) All rights reserved. “Sharpness has always been another of my profound beliefs, in part as a form of respect for the optics specialists who work hard every day to improve the rendering of the lenses,” he says. “I think describing it as a Gothic fairytale is correct, but normally, the director and cinematographer do not sit down the first day we meet and say, ‘This time we will do a Gothic fairytale.’ Instead, we start speaking about many subjects relating to — or sometimes not relating to — the film we have to do. I utilized mirrors not to destroy enemy ships, as Archimedes did in the war between Siracusa and Rome, but to destroy with a violent shaft of hypercolored light a universally ‘elegant’ or ‘refined’ image. “I brought in Idelmo Simonelli, one of the best camera operators, a true star. “But I do remember one summer afternoon in my apartment, when I heard a loud noise coming from the street. Expressionist Use of Colour Palette and Set Design in Dario Argento’s Suspiria (1977) This article seeks to explore a possible association in cinematography and mise-en-scene between Dario Argento’s Suspiria and some of the German expressionist films of the 1920s, such as Wiene’s The Cabinet of Dr Caligari and Murnau’s Nosferatu . We were often making our decisions in the flow of the shooting, without too many elaborate consultations or directions, but just in a kind of magic comprehension. “On The Passenger, I searched to force the strength of the real light, often overexposing, bringing the negative near the shoulder of the sensitometric curve to burn up some of the detail. Daniel cannot see that the creature disappears, but hears the flapping of great wings as something swoops down over the square at him as his dog barks incessantly. The level of visual detail in Suspiria once again underscores the fact that Guadagnino is a modern-day Luchino Visconti, a storyteller who understands that a meticulously crafted setting—manipulated down to the last, seemingly insignificant doorknob—is crucial to telling a tale. Heightening this air of apprehension are the unsettling sets that were devised for Suspiria by art director and production designer Inbal Weinberg, whose screen credits include Three Billboards Outside Ebbing, Missouri, Chuck, and The Perks of Being a Wallflower. The aesthetic concept on Suspiria — and Argento will forgive me if I pretend to speak for him — was never to subtract, but to add.”. “Horror films did not interest me at that moment of my professional life — I was a very impressionable guy, you see,” he continues. “You say to yourself, ‘This will never happen to me because I have never seen such intense colors in my life,’” says Tovoli. Grimy paint and scarred floors dominate, along with an air of dampness and decay that suggests the deprivation, spiritual as well as material, of the then-divided German capital. The possible bleeding of colors was exactly what I was searching for with Argento — we wanted more contrast, more vibrating colors — so I proposed to Carlo Labella, the nicest man and a very talented color timer, that we lose this little attenuation of the color contrast. Meanwhile, I started to study the work of the black-and-white cinematographers working at Cinecittà in Rome, in Hollywood and elsewhere. I later discovered that both theaters were showing Argento’s The Cat O’ Nine Tails [1971], and they were hoping to find a free seat! “That is very rare in the relationship between the director and the cinematographer. Conversely, another key set piece finds Argento and Tovoli bleeding off their elaborate color scheme to render an almost monochromatic milieu of nocturnal mayhem. Architectural Digest may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. CR met with her to discuss the ways she dreamed up a world for the film’s witches – including designing them a logo – and how she transformed an empty hotel in Italy into the imposing Tanz Dance Academy. A complete story on the 2018 Suspiria remake, shot by Sayombhu Mukdeeprom, can be found here.

“A [horror] film brings to the surface some of the ancestral fears that we hide deep inside us, and Suspiria would not have had the same cathartic function if I had utilized the fullness and consolatory sweetness of the full color spectrum. I had never lit a film like this before.

“If I have to choose one impressive reference, why not go directly to the best? You have to be extremely detailed, because the world you’re creating is comprised of these details and if you get them wrong then something is off. “With colors forbidden in reality, the Munich airport becomes Suspiria airport,” says Tovoli.

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