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Simply A Masterpiece

People are voting emotionally.

Bad Acting and worse Bad Screenplay

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

BLOOD SONG is a movie that has a couple of interesting ideas but then totally writes them off in order to turn things into a stalker story. Frankie Avalon plays a man named Paul, who escapes from the mental institution, making sure to take his homemade wooden flute with him. The flute is special to him and was made by his daddy when he was a kid. You see, he's crazy because he saw his father kill his mother and her lover in cold blood and then turned the gun on himself, which adds up to a very traumatic episode for little Paulie. The flute starts off interesting when Paul plays it and annoys the heck out of people like the guy in the van who picks him up hitchhiking, and then a female hitchhiker that Paul himself picks up after he steals the first guy's van. Then the flute is forgotten.Donna Wilkes (JAWS 2, ANGEL) plays a young high school girl who has a bum leg. She eventually graduate from leg brace to walking stick. Soon after, her leg injury is totally forgotten about, as it doesn't even manage to become a plot device integral to the story. She has a doting mother and an alcoholic abusive father (Richard Jaeckel) who totally doesn't want her seeing her boyfriend. She is connected to Paul in a way that the movie doesn't really spend a lot of time on, and doesn't even bother exploiting it further after about halfway through the story. She received a blood transfusion after the car wreck that damaged her leg (caused by her drunken father), and the donator was Paul himself, since the mental institution was the closest hospital nearby. What a dumb idea! She has a psychic link and can see Paul murder people as it happens, but then this plot device is dropped as well.Frankie Avalon is okay as the psycho killer, and has some good scenes early on, but then his character gets bogged down in a way-too-long chase after the young girl. She witnessed him burying one of his victims, and now he wants to killer her. Donna Wilkes tries so hard to get people to believe her stories that it gets repetitive. There is some decent gore, but not enough action as the movie takes the slow build path to a climax that totally betrays everything that led up to it. BLOOD SONG is an average thriller at best. Recommended for anyone who wants to see Frankie Avalon do anything other than Annette.

BLOOD SONG is a cheesy, low budget slasher film of the early 1980s, one that openly copies John Carpenter's masterclass HALLOWEEN throughout. It's best known today for the novelty casting of former '60s beach singer Frankie Avalon in a supporting role. He's okay but he's not nearly a good enough reason to bother tuning in. This is dark and grainy throughout, with only a few moments of originality and interest; most of the time it merely follows dull characters through drawn-out plotting up until their eventual death or escape.

A lunatic, who watched his father shoot down his mother and her adulterous lover before putting a bullet in his mouth, escapes from a mental asylum after a sneak attack on his doctor who was attempting to retrieve a wooden flute, terrorizing an innocent teenager with a wounded leg who catches him attempting to bury a dead body. As Paul(Frankie Avalon, in a startlingly effective performance) was digging a burial spot for a woman he had recently strangled, troubled teenager, Marion(Donna Wilkes)stumbles upon him in the act. This confrontation was seemingly fated to happen because, strange enough, Marion had been having unpleasant visions/nightmares of Paul and his acts towards people along the way..blood transfusions or not, the idea of being linked to someone mainly due to that is kind of feeble at best.Paul had buried a hatchet into the face of a driver who gave him a ride in his van(..this driver was absolutely tired of Paul's never-ceasing flute playing), picked up a sweet little loose honey who even slept with him(..only to criticize his loud flute music which bludgeons the ears of even the most patient of folks, with a necklace he had bought her used to suffocate her)and plans the worst for Marion, stalking her everywhere she goes. Marion, before Paul entered her life, had been telling others about her frightening visions, including boyfriend/fisherman Joey(William Kirby Cullen)and school gal pal Cathy(Noelle North), and the claims of seeing a psycho planning on burying a victim in a park near a beach without evidence causes them to worry about her mental health. Meanwhile, Paul awaits the moment where he will strike, and somehow Marion must convince somebody to believe her.The film is about as much a melodrama as a psycho-thriller with a sub-plot devoted to the ever-increasing estrangement between Marion and her antagonistic, bullish, drunk of a father, Frank(Richard Jaeckel). Frank's drunkenness was behind the crash which caused Marion's damaged leg. He also is very negatively vocal against her relationship with Joey. Bea(Antoinette Bower), Marion's mother, tries to consistently calm Frank and this tense drama makes up a chunk of the overall film. It all culminates towards the end as Paul attacks Frank with a hatchet in the film's most graphically violent scene which will lead to the maniac chasing after Marion into a darkened sawmill. There's an interesting psychological twist which provides a grim conclusion concerning Marion's state of well being. I think Frankie Avalon's clean-cut, matinée image provides a startling contrast to what hides bubbling under the surface..I think he actually embraces the dark side of this part and with this new freedom, plays the killer to the hilt. I like how he's actually a wimpy child, his mania as a result of temper tantrums when people "hurt him." Thanks to the cinematography which presents Paul in a murky manner, Avalon is often shrouded in darkness, his unsettling grin present until provoked towards violence when you insult him. See, Avalon has this kind and soft look about him, he seems very approachable and charming, and then you flick that switch(..even on accident)with the monster released..that's what I liked best about this little-known slasher. Many slasher faithful will find the home drama perhaps trifling and dull, but I liked the fact that the filmmakers attempted to flesh the characters out. I didn't think the "visions" angle worked, at all really, but the finale(..the chase through the sawmill)was suspenseful and exciting. I have to say, I liked this better than I thought I would. I think it does have a lot to do, though, with the blue collar environment and that the lead actress is normal looking(..the 80's, unlike the films of the last 15 or so years, actually featured female leads which looked like someone you might have actually went to school with)with her own mundane problems to deal with.

*Spoilers (slight)*I was just settling into watching 1982's BLOOD SONG when the psychopath made his first appearance. All of a sudden something dawned on me. I thought to myself, ‘hang on a minute, I recognise this guy from somewhere'. And low and behold, it was none other than fifties rock and roll teen idol Frankie Avalon. For those of you who don't know, he was that youngster groomed for stardom by Bob Marcucci and Peter DeAngelis. In 1958 he became part of the ‘Philadelphia phenomenon' that also gave life to rockers Fabian and Bobby Rydell. He enjoyed a successful career in music and amongst others gave us chart toppers in ‘Venus' and ‘Why'. Quite what he was doing starring in a lowbrow slasher flick was far beyond me. I guess it was just another experience to add to his already extremely varied career resume. But would he alone, help to save this attempt from being wholly lacklustre?A middle-aged guy returns home from a trip in a black taxi. He thanks the driver and heads up the footpath to a dimly lit house. Seconds after his entered, we hear a frantic male scream `Put down the gun', before two shots shatter the silent night sky. It seems he's caught his wife in bed with another man and let his emotions get the better of him. He asks the lord for forgiveness and then turns the gun on himself, ending the wraith of his unforgiving conscience. All these events are witnessed by a small boy, who's obviously distraught and overtaken with upset so much, that instead of whimpering or crying, he plays a mournful tune on a small wooden flute! (And yes, if you're thinking what? Already, I suggest you don't even bother watching this at all!) Some years later we are shown a patient recklessly escaping from a mental institute but taking the time to save a similar looking small brown flute…hmmm! We are now introduced to a young girl named Marion (Donna Wilkes). She keeps having strange nightmares in which a deranged killer plays a strange tune on a mouth instrument, before he ruthlessly butchers innocent people. The young girl is convinced that these are not dreams but are more like premonitions. All her friends including her boyfriend Joey (William Kirby Cullen) think that she's just stressed out by her ‘control freak' father Frank (Richard Jaekel) who's pretty damn strict. Before long the local county Sheriff (who is also a wisecracking ‘one liner king'. Watch out for his witty dialogue including the classic `…I've got a hang over that'd make King Kong climb a wall! And also `I don't wanna be disturbed unless world war 3 breaks out on Main Street' which, was another of his comical quotes!) finds a mutilated female corpse and it becomes apparent that maybe Marion isn't all that crazy…Well, where do I start? Firstly this is a pretty shoddy release and watching it - for the most part - to write this review was a pain staking arduous task hindered mainly by the fact that my copy –which, was extremely hard to get hold of – had a thin transparent line running straight through the middle of the screen, right until the end. The acting isn't too bad, and at least the heroine featured here is indeed a teen, but to be totally honest not a lot happens and I found myself having to keep rewinding it in case I'd missed something, where I was absent mindlessly flicking through my copy of The Sun whilst watching. That's never a good sign and further proves that BLOOD SONG cannot manage to keep you interested for long. People expecting to witness yet another carbon copy of either HALLOWEEN or FRIDAY THE 13TH will be pleasantly surprised to find out that this is a shockingly different approach that manages in many ways to break the mould. This is apparent in lots of circumstances including the final girl being hardly virginal; she's no Laurie Strode! If I had to put my finger on the inspiration behind this flick, I would say it owed more to NIGHTMARES IN A DAMAGED BRAIN or maybe even THE SLAYER. What is interesting however, is how it looks like this may have had a major part in the influence behind Wes Craven's A NIGHTMARE ON ELM STREET. Although this is hardly worthy of such an accolade, it's clearly two years Craven's predecessor and many of the ingredients honestly do look to have been lifted. The way that Marion dreams of all of the murders is almost identical to the fate that springs upon Nancy Thompson and her friends down good old Elm Street. Wes' box office smash is a much stronger effort, but it's interesting to note that he must've seen this before he helmed his idea!What about redeeming features I hear you ask? Well it's pretty graphic, as in you get to see some ketchup pour out of some hardly imaginative wounds! But after watching over an hour of mindless and cheesy screenplay the ending really did surprise me. Obviously I can't spoil it here for you, but it was the only sign of any intelligence on display and left you with just a touch of satisfaction. To be fair this is an original effort. And if we gave awards for ideas then this would certainly gain a prize. But I'm afraid a flick will only get rewarded here if it's above average and interesting, which, sadly this isn't. Sorry Frankie even you couldn't save this one