Connect with us

Editorials

Why It’s Okay that the ‘Suspiria’ Remake Won’t Be Colorful

Published

on

Suspiria Remake

Horror fans were enraged last week when it was announced that Luca Guadagnino’s remake of Dario Argento’s classic giallo film Suspiria would be lacking the signature color palette that the original film is known for. Predictably, fans of the original were none too pleased with this news, with people in our own comments section spouting out barbs ranging from the satirical (“Suspiria Remake Will Not Be GOOD Like Argento’s Original”) to the intellectual (“sounds retarded”). What people don’t seem to understand is that the remake’s lack of the original’s color palette is actually a good thing and I’m here to tell you why. 

Before delving into this, it should be noted that I am not Suspiria‘s biggest fan, but I will try to maintain an unbiased opinion on the matter of Guadagnino’s remake. If you think that completely invalidates my opinion, feel free to stop reading now. I won’t be offended.

Are they gone? Great, let’s get to it. The original Suspiria has two things going for it: its colorful visual style and Goblin’s stellar score. The film is a prime example of style over substance, which is why it has never really resonated with me as a viewer. Take away Argento’s artistry and Goblin’s music and what do you have? A boring movie with a nonsensical plot about a girl wandering the halls of a ballet school. That may sound like a reductive summary of what many consider to be one of the greatest horror movies ever made, but I stand by it.

This is why Guadagnino’s decision to change the visual style of the film is so important (and wise). When you strip Suspiria of the colors and the haunting score, you’re left with a flimsy narrative and an unsatisfying movie. Guadagnino is now forced to make the plot of Suspiria engaging since he will seemingly not be relying on flashy visuals.

To recap the Indiewire interview, Guadagnino’s exact words about his remake were:

It’s a film about guilt and motherhood. It has no primary colors in its color palette, unlike the original. It will be cold, evil and really dark.

Why try to replicate what is arguably (in some people’s eyes) perfect? After all, what is the purpose of a remake? The better question might be: what should the purpose of a remake be? All too often people complain that remakes are “destroying their childhood” or “tarnishing the original.” Those criticisms of a remake don’t hold much weight. The original still exists. It’s not being changed in any way. The worst that comes from a remake is that a younger generation now associates the name of a film to its remake as opposed to the original. A remake should try to adapt a story in a different way. A remake should not merely try to replicate the original. Be honest, do you really want to see Argento’s Suspiria filmed through the eyes of another director? No, you don’t. You should want to see Guadagnino’s Suspiria (if you want to see it at all, that is).

Completely changing the style of Suspiria is the smartest move that Guadagnino could make. If he tried to replicate Argento’s style there would be no point. At best it would be a serviceable copycat a la Gus Van Sant’s Psycho. At worst it would be a shameless and uninspired retread. People are going to complain about the film no matter what, but Guadagnino’s best chance at succeeding is to just do his own thing. People hate change so no one wants to see one of their favorite films change, but then they also don’t want to see it replicated shot-for-shot. Remakes can’t win. It’s a Catch-22. Damned if you do and damned if you don’t.

Remakes are going to be made no matter what. It’s just a fact. I’ve never really understood the hatred for them, as many remakes have turned out surprisingly well. Remakes such as The Thing, The Fly, Sorority Row (yes, I said it), The Hills Have Eyes and The Texas Chainsaw Massacre have all managed to stand apart from the films they were based on. They may not have always surpassed the original, but they were good films in their own right. Suspiria has a chance at being a good movie (just look at that cast!), and Guadagnino’s words should inspire hope rather than anger. What do I know though? I’m just the poor schlub who really dislikes the original.

My question to you, dear reader, is what do you think the purpose of a remake should be? Since this remake of Suspiria is inevitable, what do you want to see in the film? What version of this film would actually make you happy? Of course no opinion can be made until the final product is released. A valid fear is that this could turn out like the Martyrs remake (a film that I was lukewarm on but was still able to appreciate the diversions from the source material), where it is unceremoniously dumped on Blu-Ray with no promotion whatsoever.

Suspiria, which was written by David Kajganich (Blood Creek), stars Chloe Grace Moretz (Carrie, Let Me In), Tilda Swinton (Only Lovers Left Alive, Snowpiercer) and Dakota Johnson (50 Shades of Grey) and is currently in post-production. Production on the film took place primarily in Varese, Italy from September through December, before moving to and wrapping in Berlin in early February. Amazon already has acquired international distribution rights to the movie, and they recently courted buyers at the European Film Market.

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

Published

on

leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

Continue Reading