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It takes a strong stomach to watch Dario Argento films. If you are particularly squeamish, then skip his other films and watch this one. It is gruesome, yes, the violence starts very early on, but worth it for it is the most stunning looking horror film. It is an art nouveau nightmare masterpiece. It is obvious that the main focus for Argento was the look of the film. It is saturated in colour, there is much stained glass, opulent early 20th century decor, in fact even the walls are painted with beautiful art nouveau friezes and the set dressed better than the actors.

While the setting is glorious, the story does not suffer for lack of attention. Argento does not like to give much away in terms of plot or exposition, he paces it rather slowly and leaves the audience hanging for the next clue to the mystery. The basic plot is as follows: a young American girl, arrives in Germany to study ballet and dance at a rather sinister academy. Horrible things occur and she is drawn into the goings on.

This is the first of a trilogy of movies, the third still yet to see the light of day. Inferno was the second of the trilogy, but I found this to be the superior movie. Let's hope the third is worth the wait, it has been 24 years since the last installment. Even if you don't view Suspiria as the first of a trilogy, it is a film that easily stands alone.

Argento's Giallo films (the precursor to the slasher genre) are very confronting in their depictions of violent death. It is truly gruesome, but beautiful at the same time. Argento's talent is in framing the violence, the pacing of it, the underscoring of it. Take for example the first sequence of violence in the film: it is set in a large art nouveau apartment building, framed along darkness, with only lurid red light illuminating the proceedings, until it finishes on a stained glass dome. The violence is depicted in close up, the only wide shots being the interior of this beautiful apartment building. Only when the carnage is over does the camera pan out from the victim to reveal the aftermath of the carnage. The music score is very percussive and frantic, with screams and strange vocal noises every present. It is unnerving, as is the opening Suspiria theme. Listening to the soundtrack (by Italian prog rock band Goblin and Dario Argento) by itself, with no visuals is enough to scare you witless. This is nightmare layered on nightmare. Every cinematic element is designed to scare you and it does.

If you are going to watch this film, track down a copy that has not been hacked to pieces by the 70's censors. This shouldn't be too hard anymore, the recent DVD releases of his films promise that they are the uncut original versions as Argento intended. Argento has always had troubles with censors around the world, and it is wonderful that they are finally getting a viewing in their entirety, proper pacing and all. If you are a horror fan and have not seen this film, I guarantee you will develop a real appreciation for the Giallo genre. If you are not a horror fan, watch it anyway as it is masterful visual film making. Either way just see it, it's worth it.

9/10

I am biased because I have loved this film ever since I was four years old. Some films, as you grow and age, lose their magic and you forget what made you love it as a child. This film has only strengthened my love and appreciation of it as I have grown older. I am not one to narrate a storyline, as this film is great for more than, and even despite, it's story.

The beautiful colour photography of the locations, including London, Paris and Monte Carlo, will take you back to a fictional glamorous 1940's where everyone wore chic clothes and were perfectly mannered and groomed and make you wish you could visit there sometime.

The music is a highlight for me. Brian Easdale has written such a detailed and nuanced lyrical score that does not overpower any moment in the film. There are moments where the music so perfectly conveys a character's very thought, even though they are not saying a word and their face betrays not a hint of emotion.

The story is a familiar one, particularly today, of ambition and the balance between career and personal life, between a creative passion and a human one. And of course, yes there is the ballet element. I have no interest in ballet and I love the film. It does play up the prima ballerinas and haughty choreographer stereotypes, but as they are played by real ballet dancers, I think it makes it all the funnier. Robert Helpmann and Leonide Massine are particularly hilarious and over the top, so full of pathos and themselves.

Anton Walbrook is the star of this film, playing a Diaghilev type character and absolutely dominates any scene he is in. He is not bombastic in a showy, hammy way. It is a more silent but deadly charismatic performance. It is a pity he did not receive an award for it. He is stern, uncompromising, cold and passionate and absolutely deadly. He is a gentleman tough guy.

Moira Shearer and Marius Goring, unfortunately do not fare so well in comparison, but they are perfectly adequate in their roles and have some touching and funny moments. It is not altogether their fault, the characters are a little bland, especially in comparison to all the other larger than life characters they are paired with. Shearer really comes good as soon as she starts dancing.

Which brings me to the fifteen minute ballet in the middle of the film. It is beautiful (and brief). The dancing is fabulous, it looks beautiful and the music is amazing. No one should fast forward this masterpiece of filmed ballet. It is cinematic, not (as filmed ballet usually is) procenium stage bound. It is a modern ballet, choreographed by Robert Helpmann and Leonide Massine and is a story, perhaps even a mirror, within and of the film.

The Red Shoes combines every one of it's elements into a perfect whole. Some elements are a bit lacking, the story is very simple and given another context a bit soap opera like, but combined with the visuals, the music, the characters and the human comedy-tragedy, it is a beautiful complete film and one that will keep improving with age.

10/10

Look, I can't say I'm a big Python fan, but of all the movies they have made I find this to be the one with the most heart. Some of the set ups and jokes might not be as funny as those in some of the other films, but it is the most cohesive in terms of plot, theme and political content. Also, the performances are outstanding. And while most of the other endings of the other films feel like an anticlimax, the ending of "Brian" left me with a smile on my face and extremely satisfied. It's a pity that this film still courts controversy, it's message is a valid one and not executed in a cruel or unfair manner. And bear in mind, it's still funny in it's ridiculousness. I loved every minute of it and regret that there will be no more Python movies.