Symptoms

A considerable nonchalance fills the first long stretch of the movie, with nothing more than mere suggestions of anything peculiar dancing around the edges of the picture. At that, the marginal unease is built almost exclusively with out of place sound effects, John Scott's ominous score, or lines of dialogue that do not comport with the beautiful scenery and setting. So it is until just over one-third of the film has passed, as the eeriness begins to coalesce - first with more concrete notions of something amiss in the scenario, and at last with confirmation.

I appreciate the costume design. I think the concept is alright. However, I think the screenplay is regrettably thin, and hollow. Unconcerned pacing and piecemeal, light plot limit our engagement, and dialogue is often ham-handed and unconvincing. These qualities are echoed in the writing and orchestration of scenes, and the characterizations, to which little to no personality is imparted. All this works to restrict the cast, especially stars Angela Pleasence and Lorna Heilbron, from fully realizing the potential of characters. Heilbron is duly pleasant and uncertain as Anne, and Pleasence bears a dark intensity and disquiet as Helen; sadly, that's about all the more there is to be said. Whatever measure of nuance the leads are able to bring to their performances is effectively lost given the indelicate, feeble hand otherwise crafting the feature.

There are strong ideas here, and a strong cast. The end result just doesn't cut it. The atmosphere, thrills, foreboding, and broad entertainment we should get are greatly dampened by what feels like a weak, incomplete writing. I feel as indifferent to the film at its end as I did when I first began watching - save for that I'm also disappointed. There are worse things you could watch, and yet - a horror-thriller should get one's blood pumping to at least some small extent, but as it is, this simply doesn't. I hesitate to say that 'Symptoms' is outright bad, but it's not good, either.

This was the third Larraz title I've watched after VAMPYRES (1974) and THE COMING OF SIN (1978) – and will be promptly followed by another, THE HOUSE THAT VANISHED aka SCREAM…AND DIE! (1973); it's his second best-regarded effort after VAMPYRES itself and, in retrospect, a reputation that's fully deserved.

Even so, the film is hardly the heady brew of erotica and visceral thrills that was the latter (though it contains similar lesbian undertones and the occasional outburst of shocking violence) but rather a deliberately-paced mood-piece – in fact, it might best be described as REPULSION (1965) in the countryside (with all the inherent eeriness that such a remote setting entails)! In any case, relying as it does on fleeting frissons (the subtle appearance of a 'mysterious' woman roaming the mansion), admirably-sustained tension (the connotations involving Peter Vaughn's character and, of course, the various murder sequences) and a carefully-deployed central puzzle (which keeps us guessing down to the very penultimate shot!), the film is surely a testament to Larraz's versatility within a genre which had all but turned stale by this time (even more so vis-a'-vis the then-crumbling British movie industry).

Interestingly, the lead role is played by Angela Pleasence – daughter of horror icon Donald; just because she's his spitting image, the actress' odd looks are perfect for her mentally unbalanced character (though I doubt Larraz intended it to be a serious case history, there is the singular fact of SYMPTOMS being one of the competing entries at that year's Cannes Film Festival to consider!). Equally thoughtful was the selection of the other principal cast members: the aforementioned Peter Vaughan's burly and stern handyman could, at first glimpse, have been played by just any heavy-set person – but there's no denying that the part benefits immensely from his experienced presence; and pretty Lorna Heilbron (from THE CREEPING FLESH [1973]) as Pleasence's housemate, with short-cropped hair suggesting the then-fashionable androgyny. Affable character actor Raymond Huntley, a veteran of many a British comedy, plays the owner of the village drugstore in what proved to be his last film.

Incidentally, this was yet another picture – bafflingly M.I.A. on DVD as we speak – which I recently acquired on DVD-R i.e. I've had to make do with a full-frame edition culled from TV with forced Spanish subtitles to boot…but which is appropriate in this case, since the director actually hails from that country!

"Symptoms" follows a paper-thin plot line that details a woman who invites a girlfriend to her remote mansion for the weekend, but her true motives come into focus as something far more sinister than imagined. Originally screened at the Cannes Film Festival, "Symptoms" inexplicably became a lost a film in the ensuing years, until being unearthed and re-released on Blu-ray for the twenty-first century.

To put it plainly, if you're looking for a film where things "happen," then look elsewhere. This is a film that never quite entirely gets onto its feet, and instead wallows in its own mysteriousness and atmosphere—and the atmosphere is laid on thick. The camera meditates on the foggy England backwoods, the swampy lake that holds dark secrets, and the dilapidated mansion that is quite literally engulfed in trees and foliage. If nothing else, "Symptoms" is a mood piece, and a fantastic one at that.

Given its sparse scripting, the film demands top-notch acting from its performers, and the audience gets as much with Angela Pleasence in the lead role of the mysterious, violent hostess. She is vulnerable and simultaneously terrifying, and has a compelling screen presence. Lorna Heilbron matches Pleasence as the seductive and insouciant house guest.

Writer-director José Ramón Larraz, who is perhaps best known for his over-the-top lesbian vampire flick "Vampyres," has a consistent style established with this film, and his vision comes across on screen very strongly. Given his notoriety for the aforementioned film, the natural expectation I had for this was along the lines of an exploitation film, but it is far, far from it—it's actually a classy, quiet, and ominous meditation on broken femininity, at times evoking Robert Altman's "Images" or 1971's "Let's Scare Jessica to Death." It is part horror film and part psychological character study, moving along in that order; after the first dramatic scene of violence, the film and its heroine unravel before the audience, and the result is nothing short of compelling.

Overall, "Symptoms" is a phenomenal and under-appreciated horror film. Its status as a lost film has no doubt robbed it of the wider contemporary audience it deserves, but hopefully the re-release of it will attract modern genre fans. I was blown away by the nuance and all-around skillfulness of it. It's a quietly spooky and wildly atmospheric film that is well-acted and well-shot. Truly something to behold for fans of understated cinema. 9/10.

An odd woman takes her girlfriend to stay at her place in the country, but a former girlfriend has something to say about that ...

Slow and creepy mystery. The atmosphere is set perfectly by photography and music, but especially through the overgrown lakeside estate from the early '70s, when locations were cheap. I'm not sure this is a horror - it does dabble in the ghostly, but really it's all about psychosis - although the gore is effective: films from this era relished their stabbing scenes, and the crunchy-cabbage sound effects in this one got me every time.

The lead actress is excellent, and the performances all round are good, but the big drawback is in the character of the odd-job man: the performance is a little awkward, and the purpose of the character turns out mundane, missing the opportunity to make this a true horror, where things turn inside out and the past becomes cosmic truth. Ahem. In the end it's just a tale of bloody madness temporarily disturbing the surface of normality.

Music sets the tone. Photography is mostly delicious, and the house and lake take on real character.

Overall: Nicely disturbing, but falls short.

"Symptoms" or "The Blood virgin" is the favourite movie shot by Joseph Larraz, the catalanian director of such horror movies -Whirpool, Deviation, Scream and die or masterpieces as this "Symptoms" or "Vampyres"- that nobody did with their particular sight and their personal style. "Symptoms" is a very traditional horror tale with vampiric reminiscences and a very special study of a crazy lesbian woman obsessed with their dead mistress. The phantom of Cora, their lover is in the middle of this sensitive story and the reason of their crimes around the movie. The atmosphere and climatic shots are superb and the music score by John Scott are wonderfully executed with gothic images and dark places. "Symptoms" appeared in 1976 in british theaters and received cool opinions, specially in "Monthly Film Bulletin" and other prestigious movie magazines in United Kingdom. Twenty five years after "Symptoms" is a disturbing masterpiece of the horror movies and one of the most romantic studies of crazy love that other prestigious directors in the seventies, for example Truffaut, De Palma, Rivette, Richardson or Losey, did in this past prodigious '70 decade. Joseph Larraz, 70 years old now has a clear head yet and a great sense of humor. He is one of this rare spanish directors that made movies in United Kingdom or Demmark. He has their particular obsessions about sex, horror and movies and he showed us their talent in fashion magazines, in spanish comics or erotic pictures of beautiful women as Marianne Morris, Anulka, Lorna Heilborn, Teresa Gimpera, Helga Line, etc. "Symptoms" is a rarely piece for collectors and fans of darkness dreams and inmoral tales. The film has their soul and force in the face of Angela Pleasence as Helen Ramsey, the predator woman that kills everyone around her and use the people to take to their mortal manor where occurs all the drama. The movie is great in the beginning and in the end and offers to the audiences a clever entertainment that intelligent people will love with passion.