Moderators: mansildv, waltsouza
TrailerAs a darkness builds at the center of a world-renowned dance company, its artistic director (Swinton), a young American new to the troupe (Johnson), and a grieving psychotherapist (Ebersdorf) become entangled in a bloody, sighing nightmare.
Her makeover for the film Suspiria was pretty convincing, but there are lessons to be learned from her transformation
The chameleon actor has done it again. It turns out Tilda Swinton does play the elderly male character Dr Josef Klemperer in the remake of supernatural thriller Suspiria after all. This despite the fact that the film-makers had tried to throw everyone off the scent with an IMDb biography entry for a fake actor called Lutz Ebersdorf. In hindsight, this was a bit lame as Ebersdorf had never been cast in anything else, but just happened to land third lead in a major movie. Then there was a supplementary denial by the director, who called the suspicions that Ebersdorf was Swinton “fake news”. As everybody knows, whenever anybody says “fake news”, it is in fact true.
For some reason, despite the fact that I’m not especially observant, I didn’t even need to apply this metric. I saw the picture of Swinton’s face alongside the snaps of the character and I knew instinctively, rationally and with every pore of my being that this was indeed Tilda Swinton.
This might suggest that the makeup artist hadn’t done a good job. Not so. It’s a fine job. Makeup artists are the unsung heroes of culture (everyone always talks through the bit when their Oscar is presented). Swinton’s face was beautifully altered, the lines engraved with precision during four hours of makeup each day.
No stone was left unturned in pursuit of becoming Dr Josef Klemperer. Swinton even wore genitals. Mark Coulier, the lead makeup artist, told the New York Times: “She had this nice, weighty set of genitalia so that she could feel it dangling between her legs and she managed to get it out on set on a couple of occasions.” Fancy.
They clearly went to a lot of trouble. But why? Some smart arses have suggested it’s so that Swinton could overcome systematic pay inequality. This suggests if female actors want to boost their salaries, they will have to pretend to be male and take on multiple parts in the same movie.
There’s part of me that believes that habitual disguisers and dressers-up are a bit addicted to it, that they get more out of it than the audience. This is something to bear in mind as we approach Halloween, which has become peak costume season for non-actors. Single-use Halloween costumes, primarily made from plastic-based textiles, generate 12,500 tonnes of extra waste that will be sent to landfill or incinerated. So this year my plea is for restraint. There is simply no need to take it to Swinton levels. We know it’s you anyway.
), e o pior de tudo é que falha por estar datado e por nos mostrar um "estilo de terror" que se torna confrangedor de tão ridículo que é. Dá quase para rir à gargalhada da fórmula apresentada para cada situação de terror (logo na primeira morte, o "fore-play" é mesmo "cheesy" - não dá para não rir). Felizmente (ou infelizmente), a vertente de suspense está muito bem construída, e serve de invólucro ao tal terror "poucochinho". O filme é de resto uma vasta e variada experiência sensorial, e nisso é mesmo muito forte - as sensações transmitidas pelos sons, pelas cores, pela arquitectura, pela música, tudo levado ao um extremo insano, são palpáveis - entranham-se pelos nossos sentido adentro sem pedirem autorização, e o suspense vem a reboque desta encenação, é organicamente gerado no epicentro desta tempestade cénica (tempestade também em sentido literal, já que o filme abre com um dilúvio daqueles que parece bíblico). Achei interessante o Argento ter ido buscar a Jessica Harper, que dois ou três anos antes tinha sido a musa do Brian De Palma no seu Phantom of the Paradise. Não é que goste muito dela, ou que seja uma excelente actriz (não é), mas foi uma escolha com algum tacto.
