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angers Lawrence to the point of reawakening his lycanthropic side in one of the most underlit were- wolf attacks this side of an Al Adamson picture, just as Regina’s jealousy over her husband’s in- volvement with Prudence prompts a toothy midnight visit to her bou- doir. It all builds to a giddy-mak- ing battle royale between husband and wife in the midst of a flaming laboratory, and a final coda hint- ing that another famous monster is about to take up residence in the abandoned property. Like GURU, BLOOD was shot in 35mm, so there are no chaotic camera spins when one scene cuts to the next as one finds in his early 16mm horrors, and the technical aspects of the produc- tion, though still obviously very homemade, occasionally flirt with competence. To be sure, there are moments when the film’s sense of madness positively ignites—for example, when Lawrence’s initial impatience to be rid of real estate agent Markham (LEGACY OF BLOOD’s Martin Reymert) is ex- plained in the immediate wake of his departure by the property’s back entrance being almost burst through by Lawrence’s MARAT SADE entourage, including his befanged, sun-moldering bride. The flaming finale balances this hallucinatory moment well, and there is near-constant delirium between, interrupted only by a few flights of Victorian-tinged ro- mance—including a reunion of Carrie and her sea-faring brother Johnny (David Bevans), which takes over the film for about three minutes and hints at an incestu- ous past. While most of the per- formances here are better than Milligan’s usual standard, the per- formance of Carrie by Patti Gaul— made up to resemble Georgina Hale’s character in THE DEVILS (1971)—is delicate, technically adept and haunting. She gives one of the few Milligan performances

with a soul. Cast member Sophia Andoniadis, who appears in the coda sequence, went on to appear in the daytime dramas GUIDING LIGHT and ANOTHER WORLD un- der the name Sofia Landon Geier. Like its companion feature,

BLOOD is also presented in 1.78:1, though it was shot open aperture and clearly meant to be matted no more tightly than 1.66:1. The framing of the Code Red BD looks too tight about 25- 30% of the time. Those who own the earlier Ivers VHS release will want to hang onto it; it was trans- ferred open aperture, resulting in better composed images, and the color there is also much richer. The real value of Code Red’s re- lease is its nearly 10 recovered minutes of footage:

1:30-3:53 More than a couple of minutes are restored to the business conducted between Lawrence and Markham, making Lawrence seem infinitely ruder and more impatient to see the back of this real estate agent. Given the testy build-up, the effect is twice as comic when, the instant Markham leaves, Lawrence races to the back door to let in the rest of his motley crew, carrying Regina’s sun-roasted carcass and a lot of undulating fog.

5:56-9:06 The Orlofskis and their entourage are seen working in the yard, pruning weeds and digging. Regina is being shaded from the sunlight on the porch by Carrie, holding a parasol. Lawrence rests and tells Regina that if she doesn’t stop being so bossy, she may not get her evening injection. Petulantly, she cries that he wouldn’t really do that, followed by a calmer, more calculating close-shot in which she adds, “I think you would.” Cut indoors to Carrie in the kitchen, removing the organs from a raw chicken. She and Orlando have a tender, intimate conversation. Orlando regrets their affiliation

with the Orlofskis and that his ail- ment infected Carrie, but she re- grets nothing. (“Not having two legs does not make you less of a man, but moreso.”) They confess their love for one another and, as Carrie resumes cutting the chicken (which is later served raw), Orlando rolls offscreen. 18:12-20:18 Scene is added of the Orlofskis preparing for bed and, of course, arguing. (“I should punish you for that!” “We were punished the day we were born!”) In the VHS release, the scene of Carlotta being injected cuts di- rectly to Lawrence blowing out the bedside lantern.

Essentially all that is missing from the film is dialogue, but this

is a film enhanced by its dialogue. If the framing and color had been better rendered, this would qualify as one of the best restorations of the year; as it is, we can at least say that it is a very welcome one. BLOOD can also be viewed on Vinegar Syndrome’s streaming service. Their source material is reportedly superior and the transfer opens the image up to 1.33:1.It also represents the 69m cut of the picture.



1959, Finnkino, 86m 27s, €9.95, DVD-0 By Tim Lucas

This region-free Finnish DVD marks the first-ever authorized re- lease of Aleksandr Ptushko’s epic fantasy Sampo—a lavish, gentle yet visionary adaptation of Elias Lennrot’s 1835 nationalist narra- tive “The Kalevala,” and a film of substantial national importance to Finland. Not only was it the first Finnish motion picture to be pro- duced with a multi-channel stereo surround soundtrack, but it was the first-ever Soviet/Finnish co- production. While the film enjoyed


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