Jessica Harper and screenwriter David Kajganich on the politics of Suspiria
Spoiler Space offers thoughts on, and a place to discuss, the plot points we can’t reveal in our official reviews. Fair warning: Major plot points for Luca Guadagnino’s Suspiria remake are revealed below.
Suspiria opened wide this past weekend, which means we can finally talk about its ending. And we don’t just mean the chaotic supernatural bloodbath of the climactic ritual, though we imagine we’ll be pausing it to better appreciate mutant hands hanging off of Tilda Swinton’s full-body Helena Markos makeup once the film hits streaming. Nor do we mean the film’s lone comedic scene, as the surviving members of the Tanz Academy coven clean up the brains of their rebellious sisters that have been splattered all over the ritual chamber.
We mean the big twist in the character of Susie, who reveals herself at the end of the film to be the manifestation of the all-powerful witch queen Mater Suspiriorum. This reveal changes everything that came before, upending the dynamics of the relationship between Susie and Madame Blanc (Tilda Swinton) and casting new light on Susie’s persona as an innocent Mennonite girl from Ohio. We talked to Jessica Harper, who played Susie in the original Suspiria, about the evolution of the character following the North American premiere of the film at this year’s Fantastic Fest.
In that same interview, we also talked with the film’s screenwriter, David Kajganich, about the transformation, as well as an aspect of the film that frankly rather concerned us—a tragic romantic subplot about Dr. Josef Klemperer’s (also Tilda Swinton) guilt over losing his wife, Anke (Harper), during World War II. For a film that so boldly (and proudly) puts itself forward as female-dominated, why give the most sympathetic emotional arc to a man?
The A.V. Club: The whole thrust of the original Suspiria is Susie discovering that the school is run by witches. Here it’s clear from the outset. And that forced you to come up with a completely new narrative within this world, and a new narrative arc for the heroine.
David Kajganich: When we knew we were going to remake [the movie], obviously we wanted it to be quite bold and different and original. [And when] we decided that it would really be about the internal politics of this coven, then there’s no reason to hold back that information. The original is so iconic, anyone who knows one thing about that movie knows that reveal. So it seemed like, okay, as storytellers, why don’t we put that right out there from the beginning? Then we won’t be able to hide behind that mystery. It will mean that every minute of the film can be spent on things that are an elaboration of that [idea of the coven].
We knew we wanted the film to be about a different kind of Susie, and a different kind of power that she amasses by the end of the film. And that meant that we could open up the political context in Berlin in the ’70s. We could open up this continuum of being politically passive, being a witness, [versus] being politically active and politically revolutionary. All the characters exist somewhere on that continuum, for different reasons. And to me, [the film] is very much about becoming politically active. The way that Susie [becomes politically active] is a big surprise, and the way that Klemperer doesn’t is a big tragedy. To me, the film is full of everyone making choices about how to react to some very difficult and dangerous political situations.
AVC: Jessica, the way you played Susie in the original Suspiria is all about her journey of discovery. It’s sort of a coming-of-age story. In this film, she’s powerful and secretly guiding the narrative from the beginning. Do you have any thoughts about the evolution of the character?
Jessica Harper: In retrospect I could’ve been doing that, for all I know. You could go back and go, “Oh, that’s what it was about when she walks out of the house at the end [of the original Suspiria] and she smiles. She’s going to evolve into that.” It makes me think back about where I was at in that movie. And now, in the new movie, she has many more layers and is much more overtly complex. I find that so fun to track.