Blood Splash1981 Review
Blood Splash 1981
aka Nightmare aka Nightmare’s in a Damaged Brain
Directed by: Romano Scavolini
Starring: Baird Stafford, Sharon Smith, Danny Ronan
Review by Luisito Joaquín González
During the eighties slasher boom, there were two different styles that launched successfully from the initial template. Whilst the multitude of genre entries would focus on an undeveloped identity for their boogeymen and build their plot structures on the characterisation of their victims, there were a few that took the opposite cinematic approach. I’ve always thought that making your central character the antagonist is an intriguing idea, but possibly the toughest to convey in a workable concept. It’s not easy to establish a favourable personality for a homicidal maniac; especially when he must carry the entire feature as the lead. It could be said that the key strength that made the synopsis for Halloween so successful was the lack of clarity for Michael Myers’ identity and motives. Just why did he want to kill Laurie Strode? Why did he get up after being shot six times by Sam Loomis? We never got to find out, and that was an ingenious touch from Carpenter. A touch of surrealist or openness from a screenplay can attract much interest and lengthy post-movie debate amongst audiences. Just look at classics like American Psycho, 2001 A Space Odyssey etc for further proof.
Despite the potential banana skins, a few features experimented with centralising their story around the characterisation of the main villain delivering mixed results. Whilst William Lustig’s Maniac can be credited as a genre classic, Bits and Pieces was shoddy and forgettable. That’s why I was thoroughly inspired to watch Blood Splash, which after years of repression as a video nasty has garnered itself a gruesome reputation. I own two copies of the movie and each has a separate title. The first one I came across was under the title Blood Splash and is heavily edited, but the second is an uncut VHS that I picked up in Amsterdam as ‘Nightmare’ and it has all the gooey bits intact 🙂
In the opening few scenes, we learn that George Tatum was recently released from his asylum, due to the fact that his doctors have discovered a breakthrough cure for his violent spells of delirium and psychosis. The combination of drugs had completely cured the patient of his psychopathic hallucinations and his adviser believed that with time and measured access to society, Tatum would be fit to fully resume a normal standard of life. However it doesn’t take long for us to realise that his doctor’s hypothesis was drastically erroneous. This is evidently demonstrated when Tatum drops to the floor foaming from the mouth whilst watching a patently lackadaisical pornographic peep show.
Soon after, the clearly psychotic loner heads across the country on a personal vendetta to confront the inner demons of his consistent nightmares. His doctors panic when they realise that they have made a deadly mistake, and it’s a race against time to see if they can catch Tatum before he murders again…
Splash succeeds in being an unsettling, brutal and straight laced horror experience. It’s the kind of movie that does what it says on the tin. The Daily Mail-inspired campaign that launched the video nasty phase of the early eighties was unnecessary, because as human beings we have a choice. If you don’t want to be offended by a film that was created directly to shock, then don’t watch Blood Splash. In 1984 David Grant, a former UK porn producer that had moved into feature film distribution, was jailed for 18 months (later reduced to 12) for releasing a version that waived the 62 seconds of cuts slapped upon it by the BBFC. This was a harsh statement of intent to further enforce the video nasty ban and it was a ridiculously un-democratic way of informing us that Big Brother was watching and the establishment reigned supreme.
The movie itself is a uniquely conveyed mix of unthinkable brutality and gooey money shots in a dreary depiction of a descent into vicious madness. Director Romano Scavolini makes no effort to hide his inspirations, and the film references various genre maestros without ever directly stealing from them. In places, he impressively manages to mimic Carpenter’s skill of emanating terror from the background. By now you should know how it works: the camera is fixed on a focal point for a sustained time, but as it begins to pan you become aware that something menacing is looming into focus just out of shot. It’s moments like this that can make or break a decent horror film and Splash does boast its fair share of successful tricks and flourishes.
It’s not unusual for a slasher movie to have a cast that disappears down the long road to film obscurity almost immediately after release. The genre has never been credited for its emphasis on dramatics. However it seems somewhat harsh on the actors from Blood Splash as the majority of them do a good enough job. Baird Stafford was impressive in an extremely complicated part and it’s hard to pick any bones from his psychotic depiction. He delivers a gnashing, foaming portrayal of dementia, which rarely touches on the OTT. Without a doubt the film’s reputation derives from its copious amounts of gore; and in its uncut print the feature doesn’t disappoint. Tom Savini was credited as the make-up artist, although he latter sued the producers, claiming that he had only worked as a consultant. In reality the effects were supplied by soon-to-be Oscar nominee Ed French and his work was worthy of Savini’s name. The gory final sequence, which involves a messy decapitation and an axe through the head, has become the stuff of slasher legend.
Splash is not without its negatives however and they stem from the confusing plot. The idea to break the runtime into segmented days ala The Shinning was a good one, but characters are randomly introduced without clarification, which creates a story that’s awkward to follow. There’s also a lack of cohesion in some of the promising ideas that are hinted but never followed through. Our deranged killer shares an interesting relationship with the child of the family that he stalks, but it never develops as we are left feeling like it should have. The script hints at an altogether more ambiguous depth to the synopsis, but it’s not given enough clarification to go anywhere.
Some may say that Blood Splash can be rather tedious in its long excursions into the depth of the antagonist’s insanity, but I managed to enjoy Scavolini’s opus and I recommend it to be seen. It’s not one that’s going to terrify you, but it’s slow and brooding atmosphere can become quite gripping.
Final Girl: √√