Despite some good moments, this period chiller gives in too often to modern schlock tactics.
In 19th-century France, Baron Jean Octavie (Lev Prigunov) is arrested for murder while composing a "Devil's Symphony," which he hides before his execution. His mansion is inherited by his niece, Gabrielle (Jennifer Burns), who finds the unfinished work and, unaware of its true nature, sets out to
have it completed. The only composer who will take the job is choirmaster Marius Carnot (Ben Cross), who moves into the mansion. As he works on the music, the housekeeper Carlotta (Beverly Garland)--the Baron's old lover--is visited by the Baron's ghost, who tells her that they can possess Marius
and Gabrielle's bodies when the symphony is finished.
Marius, with Carlotta's encouragement, is increasingly overcome by the Baron's spirit and murders some local prostitutes, as well as Gabrielle's fiance Julien (Doug Wert) during a duel. Believing his deadly activities to be nightmares, Marius quits the composition, but Carlotta hangs herself, and
her spirit enters Gabrielle, who convinces Marius to play the symphony one more time. He becomes possessed, kills another girl, and completes the piece, then makes love to Gabrielle. Carlotta's spirit leaves her and is sent to hell, and Marius attacks Gabrielle, who plays one of his old waltzes
and frees Marius of the Baron's influence. The authorities arrive, and Marius throws himself into the fireplace. Later, the Baron himself rises from the grave, and Gabrielle destroys him by burning the symphony.
The sumptuous settings (filmed in Russia) and costumes, occasionally sprightly dialogue, and Cross's good performance make better impressions than BLOOD SONG's overall story, which lays all its cards on the table too soon, leaving little chance for mystery or surprise. Director David Tausik
contributes a few good flourishes, including some effective transitions toward the end, though the climax is needlessly protracted. And too often, the movie goes for the obvious, including graphic sex and violence that clash with the otherwise old-fashioned approach.
The plotting occasionally feels rushed and choppy, no surprise given that the film was cut down from a 98-minute version originally set for a 1994 video debut under the title THE HAUNTED SYMPHONY. That release was aborted at the last minute, and this shorter version debuted on Showtime in 1996
under the title HELLFIRE. Louis Morneau receives a story credit on the video packaging but not in the movie itself. (Graphic violence, extensive nudity, sexual situations.) leave a comment
