@nerdfuckerrr, with his impeccable taste, reminds me of this film with some beautiful GIFs that I'll share with you. Suspiria is a fascinating film of European Italian cinema, but it's popularly credited with inventing the excessive use of color seen in the post, when in fact that was the work of the Italian director Mario Bava (1914-1980). His name might not ring a bell (I myself have barely seen any of his films), but he was a key figure who largely defined what we understand as Italian horror cinema. Bava even comes up in the cinephile debate about who invented the slasher film, but I digress…
Dario Argento (1940-) is undoubtedly talented, but it's also true that he contributes to an existing tradition, and this (brilliant) use of color is a direct continuation, taking Bava's technique a step further. Suspiria is a well-deserved classic, but the problems have arisen with imitations that have gone beyond its already excessive use and extended those washes of color for longer periods of screen time. Now, something like this is cheaper, doesn't require studio tests or top lighting experts (a field where, incidentally, the Italians excelled), since everything is done in digital post-production, although the final result is noticeably different.
This has led to overuse. Similarly, drone footage is infinitely cheaper and more practical than the old aerial shots, but should a technique be used simply because it's available and/or effective? Adding to the different textures of post-production color washes is the problem of confusing terminology and assuming it's done in the style of Argento, or even imitating Italian horror films. This results in coloristically aggressive, or at least excessive, films that negate their own effect through constant repetition.
It's a very 21st-century flaw to try to reproduce the grandeur of the background by imitating its forms, getting stuck on aesthetics, small details, and giving in to this superficiality as a hollow game of imitating references where, moreover, parts are mistaken for the whole.
Italian genre cinema was never defined by slaps of basic colors, and the eighties weren't all bathed in neon. Remember how I complained about Synthwave, a toy of returning to a past style, so coincidentally similar to what Mark Fisher described about repeatedly revisiting and recreating past styles? This is something like that. And speaking of music, perhaps it would be more appropriate to aim for memorability than that kind of cinema by resorting to unusual and experimental bands. Just as memorable (or even more so) than those colorful moments is the soundtrack Goblin created for Argento's film, but alas, budgets!
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This decade that is said to be magical has a list of forgotten and sometimes forgettable films, but they are worth seeing because they are strange, disconcerting and, as the Americans say, psychotronic.
It was a new exploited field to rescue them at the beginning of the century, and books listing them abound; but this is one of the most famous and is available for online consultation or download in the Internet Archive, let us know @spaceintruderdetector. Are you going to miss it?
Blesding skull book this one article talking about tare obscure film.
And we continue to offer material to cultivate cinematic tastes. And I use the plural because it's thanks to @spaceintruderdetector that I discovered these books… follow his blog.
