Bloodstream 1985 Review
Directed by: Michael J. Murphy
Starring: Patrick Olliver, Jacquelin Logan, Catherine Rowlands
Review by Luisito Joaquín González
It is said by some historians that back in the times before humans began to travel and integrate, a name was thought to be much more than just a term of identification.
In places like Israel, Mesopotamia, Egypt and Persia, names were given as a pathway to destiny and could also be earned by acts of courage and strength. A person would be judged as much upon what they were called as a star sign today distinguishes characteristics for those that believe in horoscopes. Ancient Hebrew forbade the true name of God to be used in writing or speech and it was thought that his spirit could be summoned by verbally addressing him. Nowadays of course names mean very little and such superstitions have long been banished to memory. Kids get lumbered with the trend of the month when it comes to Christenings and I’ve seen everything from ‘Biscuit’ to ‘Rainbow’ to ‘Pilot Inspektor’. (The last one is Jason Lee’s son!). I wonder if our stronger, bigger-brained cousins, the Neanderthals had a similar society with identification for family/friends? It’s a shame, we made them extinct.
Michael J Murphy’s slasher from 1985 pushed two separate words together to conjure up the title, ‘Bloodstream’. Fifteen years later, Steve Jarvis and co from Cinematrix films coincidentally did exactly the same thing. What really stands out as a bizarre and inexplicable link is the fact that both films never secured distribution. So two motion pictures released within twenty years of each other in a niche genre with identical titles suffered exactly the same unusual fate. Could it be that their names somehow jinxed their destiny?
This is another a SLASH above exclusive and a total rarity that I am posting for your perusal. It’s from cult horror helmer Michael Murphy and British film has far too few directors like him. His style can be compared to that of Nathan Schiff and he has released well over twenty-five pictures on the smallest of budgets. Invitation to Hell and The Last Night are the most recognised, with the latter being considered by some to sit within the stalk and slash grouping. Whilst The Last Night’s place amongst the category is indeed questionable, Bloodstream has none of the same identity issues. It’s a slasher through and through.
When up and coming director Alistair Bailey is fired from a project by notorious VHS distributor William King, he believes that his footage has been left in the trash can. He soon discovers however that King tricked him and is planning to globally sell the movie that he spent ages working upon. As the lust for revenge strengthens, Bailey decides to don the same disguise as the one used by his antagonist and make a new feature. Only this time, the murders will be real…
Interestingly enough, Bloodstream is a project that was made with the mission to deliver a unique message to specific parties. Murphy’s career up until that point had been blighted by poor deals with shady producers, which meant that he had seen little financial gain from his experiences. He had been stiffed on both of his previous efforts, and so he created this ‘revenge’ story that sees characters similar to those that had wronged him getting slaughtered in the worst possible ways. Although it must have been a personal triumph to make his point so vividly, it no doubt contributed to the fact that the film failed to pick up any kind of release and was forgotten fairly quickly. It’s not even listed on the IMDB.
Shot on Super 8mm, the only available version is tough to watch even for a fan of the category. The quality of the production is obviously unprofessional in everything from the visuals to the performance of its participants. Somehow though, the strength of its creativity gives it some kind of escape ticket from the clutches of mediocrity and it touched me because it plays like it has been created as a back garden tribute of kind to the slasher genre.
The synopsis has no mystery angle and we learn the maniac’s identity right from the start, but it all manages to unfold in an interesting way. The killer is the central character that guides us through the story and even if he seems open to the idea of vicious avengement, he would probably have done very little if he had been left to his own devices. Instead, he is guided by a willing partner whose motivation is far more shallow. This relationship between the two is intriguing and well written. It made me consider the fact that there are hundreds of slasher films without an ounce of authenticity that are available to find quite easily. This one, despite its novel approach, remains locked away, which seems somewhat unfair.
The majority of the runtime is filled with ‘film within a film’ scenes that are blended into the story by the fact that our antagonist watches a constant stream of VHS movies in his bedsit. Murphy uses this as an excuse to pay homage (rip off) everything from Mad Max to Friday the 13th Part II, because we get to view everything that our protagonist inserts into his VCR. The director even takes on The Exorcist and other classics that I’ll leave you to discover for yourself. There’s no doubt that these are included as a form of padding to extend a minimalistic story, but the runtime rarely drags and the cocktail just about works. When the maniac finally begins his rampage, the kill scenes are bloody in the tackiest possible way and surprisingly brutal. The first one, which ‘borrows’ an idea from Happy Birthday to Me is edited and structured superbly and shows impressive technical craft from Murphy. Such moments made me believe that he most definitely should have been offered the chance to work with a bigger budget during his career. Dick Randall and the like may have missed a trick by not looking him up.
Bloodstream has a big enough number of victims and the right amount of outright weirdness for me to have enjoyed it. Whilst it can by no means be considered a good movie, it earns points for its peculiarity. I’m sure that now Michael Murphy has forgotten the financial loss and frustration at not seeing his project picked up for circulation, he must be quite happy that his VHS message to dishonest distributors has become a cult rarity.
Whilst I can’t recommend that you hunt this one out for its ability to generate even the lowest level of fear, it is worth tracking down because it is truly a warped take-on the slasher template.
Killer Guise: √√√√
Final Girl: √