Laços de Sangue

Donald Sutherland was one of the most interesting and intelligent actors of the 1970s with impressive roles in movie such as 'Klute', 'Steelyard Blues', 'The Day Of The Locust', 'Don't Look Now' and '1900'. But for some reason 'Blood Relatives' has disappeared into obscurity, despite being directed by acclaimed French New Wave figure Claude Chabrol, and featuring yet another fine Sutherland performance. Why this movie has been all but forgotten is difficult to explain. I really have no idea. But as I could EASILY list 100 other unfairly neglected movies off the top of my head it doesn't really surprise me. Anyway, this is a very well made mystery thriller which kept me fascinated throughout. Sutherland is great, the three young leads (who include Lisa Langlois later of trash classic 'Class Of 1984'!) are all very good, plus we get the wonderful David Hemmings ('Blowup'/'Barbarella'/'Profondo Rosso'), and a brilliant cameo from Donald Pleasence ('THX 1138'/'Halloween') as a creepy paedophile. 'Blood Relatives' is recommended to mystery buffs and Sutherland fans.

I honestly can't believe that this film isn't more highly rated. Claude Chabrol could be described as something like a French Alfred Hitchcock, and while this film is only the second one of his that I've seen (the first being Le Boucher), I can already see that this guy is something special just on the strength of these two films. The film is a French and Canadian co-production, and takes place in Canada. The cast is made up of British and Canadian stars and the high quality performances bode well with the rest of the film; most of which is high quality also. The film is a murder mystery and begins when a young girl covered in blood is brought into a police station. After being questioned by Inspector Carella, it emerges that the young girl, Patricia, and her sister Muriel were attacked by a man who killed the sister and only just allowed Patricia to flee. However, as the investigation goes on, Patricia goes back to the station to give new evidence, which reveals a far more shocking identity to the murderer.

The performances in this film are excellent. Donald Sutherland is subdued as usual, but he suits the role he's given here very well and I wouldn't hesitate to name his performance in Blood Relatives as one of his very best. The film also features supporting turns from British stars Donald Pleasance and David Hemmings who both give good turns; Pleasance in particular who shows just how great an actor he can be and highlights what a shame it is that he went on to waste himself in Halloween films. The unknown Aude Landry also gives a great performance in her role as Patricia. The movie is very mysterious for the first hour and really keeps the audience hooked. When Inspector Carella discovers Muriel's diary, the film turns into more of a drama in which the girl's last actions are shown; and while this section of the film is not as good as what went before it, it's still interesting and leads into a great twist at the end! Overall, Blood Relatives is a great film that really deserves to be better seen. Le Boucher is a better known effort from Chabrol, but for my money this is at least as good! Highly recommended viewing.

When Patricia Newell is attacked after witnessing her cousin's murder,Detective Carrella searches the city for her killer.Identifying the murderer after an intensive manhunt,Patricia is sent to live with relatives in the country.For Carrella the case is closed...or is it?"Blood Relatives" is an overlooked masterpiece.Donald Sutherland plays a cop and it's nice to see Donald Pleasance in a small role as a child molester.The conclusion is pretty disturbing.Still "Blood Relatives" is more of a mystery than a horror film,so fans of gore will be disappointed.A must-see for fans of old-fashioned mystery movies.9 out of 10.

This is an unusual foray in the English language for Chabrol (albeit set in Canada, where French is extensively spoken) but a most typical mystery for him (based on a novel by popular American pulp writer Ed McBain) and, in retrospect, an underrated (if unassuming) work.

The director also managed to rope in a good cast, led by Donald Sutherland (a genuine Canadian, playing a character not too far removed from his star-making turn in KLUTE [1971]), as well as David Hemmings and Donald Pleasence (quietly impressive in the role of a paedophile) to act as red herrings. However, the best performances come from the two young female protagonists (who were ostensibly assaulted one night at the film's very start) and especially the sole survivor, whose version of events keeps changing throughout the film, as Sutherland – and the audience – gradually begins to put the pieces together with every new disclosed fact. On the other hand, Chabrol's own wife – Stephane Audran – is saddled with a thankless mother role.

Though the ultimate revelation is hardly overwhelmingly original, the incestuous connotations are provocative enough to make the journey there a fairly powerful one. The copy I acquired (which seems to be slightly trimmed – running 91 minutes against the official 100) was full-frame and excessively soft, but certainly serviceable for such a rare item. Interestingly, the French edition of this title contains an alternate score by Chabrol regular Pierre Jansen to the one provided here by Howard Blake.

Evocatively directed and slickly photographed psychological mystery thriller with an exceptional lead performance by a sombre Donald Sutherland, and potent support roles from Donald Pleasence and David Hemming. The material decides to keep it all glum, and moves from the investigation period into the back-story of the victim. The seldom, and quite sullen nature of investigation pulled me in, but when it flashback to the victim's side showing her final days weren't as compelling, and became somewhat stodgy and stock-like. While the script is strongly detailed and to a certain degree complex in stringing us along, however the final and surprising revelation should have been more bone-jarring and it's not helped out by its sloppy execution. Howard Blake's music score has an emotional sting to its cues that simply linger, and director Claude Chabrol's capable handling (well for most part) has a strong stylistic and tight manner, which gets the best out of moody locations and flexible cast. The young faces Lisa Langlois and Aude Landry do an incredibly good job as well.