I’m very quite selective when it comes to horror and thriller movie genre. I can’t say that I’m a big fan, but it’s that one genre whereas the premise has no intriguing mystery to it, I merely ignore it or either stay clear of watching. It’s not that I don’t like it, but it’s the horror-thriller genre is highly rehashed in the movie industry that you can already tell the ending by just watching the trailer or reading the premise beforehand.
From mindless zombies spreading the pandemic to blood-curdling ashen face vampires terrorizing a town, a psychopath trying to satisfy their murderous fantasies, and let’s not forget the shapeshifting werewolves killing everybody who stands in front of their quest to cure their lycanthropy. Nevertheless, we still pervasively go to the movies theaters to watch the same theme to feed our sensation of fears and thrills, whether it’s the resiliency or indomitable will of human to survive during a zombie outbreak or the sexual and manipulative nature of vampires, we still glue ourselves purely for entertainment purposes.
Horror movies have been recycled through Hollywood numerous times. Off the bat, we’ve become customary to what the ending plot of a horror movie but nonetheless we still stick to the same theme. In as much of my argument, I still consider myself a sucker for horror movies. As I sat on my desk and waste time scrolling through my Facebook news feed, came across a promoted trailer the Suspiria remake that is set to release this year, sometime after Halloween.
The teaser trailer caught my attention! It doesn’t describe what the movie plot is about nor does it contain dialogues describing the nature of the movie. Despite the lack of information of what the hell this film is about, the trailer’s ominous and sharp eerie score accompanied by the disconnected scenes transitioning sporadically from one unsettling scene to another, suggest it’s a horror-thriller.
So I decided to watch the original movie by Dario Argento of the same title. But before watching it, just as many of you we do, I decided to watch the trailer. To my surprise, it employs the same marketing production value, disturbing synthesizers with a gradual twanging score that seems as if you were being watched and followed in a damp, dark alley as you walk home at the middle of the night.
What makes it different from the remake trailer is its use of vivid colors as opposed to the dark with tonal-grayish colors. So I decided to give it a watch, not for its narrative, after googling and reading the premise of the movie, but through my astonishment on how Argento’s compelling use of sounds and colors that created an otherworldly atmosphere. It’s like a nightmare come to life, you lucidly remember the colors and sounds, yet it’s black and white, muted as you’re dreaming. Now I’m just waiting for the remake so I can make a comparison between the two. Director Luca Guadganino says that it will be completely different from Argento’s original masterpiece, yet the trailer is striking similar. Maybe a new plot twist to the witch coven of ballet witches? Or more grittier or intense reboot? Just as every remake that’s been revived, to appeal more to an era of well-informed audience since information is at the palm of our hand. Let’s see if it lives up to the original and become a masterpiece of its own.
A day 