The combination of the brutal violence, the strikingly beautiful way in which it is depicted and the fact that most of the victims of said violence are women have led to charges that both Argento and his film are misogynistic. Argento himself hardly did himself any favors when he did a 1983 interview in which he stated “I like women, especially beautiful ones. . . If they have a good fan and figure, I would much prefer to watch them being murdered than an ugly girl or man. I certainly don’t have to justify myself to anyone about this.” However, to dismiss him as simply misogynist, at least regarding “Suspiria,” is wrong because it ignores the numerous ways in which it is surprisingly progressive. Yes, most of the violence happens to women, but that is because this is a story where nearly all the roles are played by women and where the very few men that turn up along the way are either weirdos or spectacularly ineffective at best. Here, women control the action and are looked at as sources of real power. The character of Suzy is initially seen as hopelessly naive, but grows to become a strong, capable person. Argento is aided immensely here by the lead performance by Jessica Harper, a cult film icon who appeared in such oddball favorites as “Phantom of the Paradise" and “Pennies from Heaven," as well as the presence of such genuine cinematic icons as Joan Bennett (a favorite of Fritz Lang) and Alida Valli (whose credits include Alfred Hitchcock’s “The Paradine Case” (1947), “The Third Man” and “1900."



Although the stylistic excesses and apocalyptic ending might have suggested that Argento could push this sort of material no further, he (no doubt inspired by its success throughout the world) announced that it would be the first of a loosely connected trilogy involving witchcraft in three different locations throughout the world. “Inferno” (1980) was in many ways even more over-the-top than its predecessor and even more unconcerned with niceties like plot and logic. It would probably have a better reputation in America if it had been given a proper theatrical release instead of finally emerging on home video in a cut version five years later. For decades, there were stillborn rumors of a third film but 2007 saw the release of the long-gestating “Mother of Tears.” Although a definite comedown from the artistic heights of its predecessors, it contained enough cheerfully weirdo moments, not to mention a central performance by the endlessly charismatic Asia Argento, to make for a reasonably satisfying conclusion. For years, there were also rumors of a remake of “Suspiria” that was at one point going to be directest by David Gordon Green before finally going before the cameras with Luca Guadagnino (“Call Me By Your Name”) directing an eclectic cast including Tilda Swinton, Dakota Johnson, Chloe Grace Moretz and Jessica Harper. It is tentatively scheduled for release next year.

Regardless of the sequels, remakes, homages and ripoffs, “Suspiria” remains a truly one-of-a-kind cinematic experience. For horror fans, it is one of those touchstone titles whose significance has been passed down from generation to generation. Unlike many other horror films of its era, it has not aged a day and its formal beauties still put most current movies to shame. Those not immediately disposed to the horror genre may have a harder time getting into it—I cannot emphasize just how bloody it does get at times—but even they may find themselves responding to the incredibly skilled and self-assured filmmaking on display, even if they are doing it with their hands over their faces and from a crouching position. “Suspiria” truly is one of the absolute classics of the horror genre and anyone who considers themselves to be true students of the cinema owe it to themselves to experience it for themselves, especially if they get a chance to see it on the big screen where it belong.