I was surprised to learn recently that 1977’s Haunts is not considered one of the classic suspense dramas of the 1970s in your universe, as it is in mine. Directed by Herb Freed—veteran of subtle, thoughtful horror movies like Graduation Day (1981) and Beyond Evil (1980)—this classic features performances by both Cameron Mitchell and Aldo Ray. How could it not be a masterpiece?

But the respected critics of your universe fail, as ever, to understand the film’s understated brilliance. Trashgang, on IMDB, writes, “It's made just before the heydays of the slashers and maybe that's the reason why it flopped. Nothing is creepy or scary there is even no red stuff to mention in it.” Also on IMDB, jfgibson73 writes, “Nothing really stood out, not much was memorable.” The eloquent reviewer vegeta3986 writes, “Once again, the 70's feels like being really weird with its titles and have them have nothing to do with the actual story. i love it. oh wait. no i don't, it's STUPID. oh well.” While I applaud this eminent critic’s prose style, I must take issue with his or her conclusion. In fact, Haunts is far from STUPID.

I will spare you an exquisite plot summary so you can watch it for yourself.

While Haunts has many high points, the performances by the experienced cast members are perhaps the best part of the film. Cameron Mitchell is wonderful as Uncle Carl, first seen as rather grumpy and uncivilized in Ingrid’s imagination, but later revealed to be gentlemanly and sophisticated in real life. If there is one flaw in the film, it is that Mr. Mitchell’s screen time is so limited. Aldo Ray, while not as charming as Cameron Mitchell, makes the most of his role as the alcoholic, pill-popping, vomiting town sheriff. Mr. Ray coughs and clears his throat throughout the film, and by the end the audience is concerned that the man might drop dead at any moment.

But it is May Britt who owns the film as Ingrid, the seemingly innocent Swedish farmgirl who has many secrets to hide. In most scenes, Ingrid is either bewildered by all the “terrible goings-on” or angry at the lecherous men around her. Despite hints that she might be the killer, such as the missing scissors, Ingrid never seems capable of doing harm to herself or others, until the end, when it is revealed she ... well, I will let you find out for yourself. Ms. Britt is full of surprises in this movie, and her performance is made all the sweeter by her charming Swedish accent.

The music of Haunts must also be singled out as a high point. While an uncharitable critic might complain that director Herb Freed often uses Pino Donaggio’s score as a bludgeon, the score itself is beautiful and the director can be forgiven for turning it up during scenes of tension.

It is the ambiguity of the film, too, that pushes it into the realm of the masterwork. We are left with many questions at each point in the film, questions that will never be answered. Until a sequel is written, the ambiguities raised in Haunts can only be pondered…and savored.

According to Freed, he and his wife, Anne Marisse, co-authored the screenplay after he experienced a series of repressed memories following Marisse's witnessing of a car accident. Freed characterized the film as "a look at a woman's psyche, and it's very powerful." The film was shot on location in Mendocino, California. Actor Cameron Mitchell recalled the film as "very strange," and he was unsure of director Freed's vision. Mitchell also stated that in the original cut of the film, his character embraced Ingrid, which was excised in post-production. The film's working title was The Veil.

from https://www.senselesscinema.com/2017/02/haunts.html

Caution: the full review has spoilers.