Ballet isn't the most popular of art forms in the twenty-first century. In the United States at least, it probably owes its continued, if threatened, existence almost exclusively to the annual bonanza of The Nutcracker, a Christmas tradition that even those who would never dream of seeing any other ballet often hold dear. So it's perhaps no great surprise that most people will struggle to come up with many ballet films off the top of their heads. Most people will come up with Black Swan, Suspiria, and not much else. I, however, love ballet and have compiled a list of what I believe are the very best ballet films. Since then, I've found a few more that I would add to that list - Ben Hecht's preposterous but atmospheric Specter of the Rose and Dancer, a documentary about Ukrainian ballet wunderkind and bad boy Sergei Polunin - but I hadn't up until now seen the film that usually tops lists of films about dance: Dario Argento's Suspiria.
I didn't care for it, but that's no surprise. I don't tend to like horror films and I found it to be an alternately oppressive and silly experience. What I wasn't expecting, given its prominence in discussions of ballet on film, is that it really isn't a ballet film. Though set in what we are told is an elite dancing academy, there are no ballet sequences. The students only dance in one scene in the entire film and that scene makes it embarrassingly clear that Argento didn't bother casting dancers. Their gawky, awkward leaps and turns, uncoordinated and ungraceful, look ridiculous. Argento has a reputation for laissez-faire directing, but my goodness, the brief display in this scene is bad to the point of pain.
Perhaps a film needn't have actual dance sequences to have something to say about dance, but in the case of Suspiria, dance is essentially a means to an aesthetic end, but not an especially interesting one. Putting willowy girls in skintight black onesies onscreen seems to have been the most crucial reason for the Tanz Dance Academy (the 'Dance Dance Academy' if we translate the German - oh dear) to be a dance school, instead of, say, a cooking school or a painting school. Dance is totally beside the point.
Thus, I don't see any way in which Suspiria could be considered a dance film, though from what I have heard, without having seen it, Luca Guadagnino's remake could be so considered. What frustrates about this incorrect genre labeling is that it indicates the paucity of attention that actual dance films receive. Why should Suspiria be the automatic first choice for any list of dance films when it doesn't have any actual dancing in it? Pedro Almodóvar's Talk to Her, though rarely if ever classified as a dance film (except perhaps by yours truly) has a lot to say about dance and includes scenes of one of Pina Bausch's ballets. Calling Suspiria a film about dance is a bit like saying that Raiders of the Lost Ark is about teaching university classes or Casablanca is about how to run a bar. The 'Dance of the Hours' sequence in Fantasia, with its affectionately ludicrous choreography, its dainty hippos, airy elephants, and slithery crocodiles, expresses something of the sublime absurdity of the dance. Suspiria, on the other hand, is a film in which dance is nothing more than a minor ploy to get its heroine propelled into the academy of the occult.