Paranoia

The third teaming of actress Carroll Baker with director Umberto Lenzi, yet another sex-and-murder soap opera made in Italy after Baker's Hollywood fortunes had dried up (temporarily, anyway). Here, Carroll is a racecar driver who cracks up on the track; she takes refuge with her handsome ex-husband, who has remarried a wealthy older woman with a daughter from a previous marriage. Double and triple crosses--as well as scenes featuring a nude, unblushing Baker--are in abundance, yet the 'shocking' plot taxes one's patience, particularly since the characters are so vapid. Excellent point-of-view cinematography from the driver's seat lends the narrative far more excitement than the guessing game of who is sleeping with who. ** from ****

Titled on my Blu ray as Paranoia, this is also known as A Quite Place to Kill which might be the better option as there is another Lenzi film made the previous year and also known as Paranoia. Thankfully, Umberto Lenzi himself is on hand on the disc to clarify the similarities and differences as well as how this ridiculous situation came about. Anyway the previous year's film, also with Carroll Baker is fine but this is probably even better. More original and more exciting, this is a crazy, colourful and involving gialloesque mystery involving fantastic clothing and furnishings, cars and telephones and lots of Carroll baker. She was nearly 40 when she made this but still strips down to order and looks great. Jean Sorell is as reliable as ever and always seems to give that look and twinkle those eyes as if to indicate love and hate at the same time. Marina Coffa appears around the halfway mark and really stirs things up. Apparently back in the day audiences would stand and applause, so stunned and delighted at the final denouement although she did very little after this for whatever reason. Very much of the period this has the music, fads, colours and morals of the time.

A Quiet Place to Kill is not be confused with the earlier Orgasmo, though unfortunately confusing the pair is very easy as they're from the same director, both feature American actress Carroll Baker and they were both released under the title 'Paranoia'! Quite what the reason for both films featuring the same title is anyone's guess: I know that Italian filmmakers were more interested in making money than anything else, but surely releasing two films under the same title would do more harm than good when it came to the box office...but oh well. It's usually Orgasmo that gets most of the fans; but if you ask me, this second version of Paranoia is the better of the two. Like Lenzi's earlier 'So Sweet, So Perverse', it would appear that the plot has been lifted from the French classic 'Les Diaboliques', and focuses on a love triangle. Playboy Maurice is married to Constance, a woman who decides to invite Maurice's ex-wife Helen to stay with them. Helen doesn't question it too much and accepts the invitation, and soon learns that the reason she's there is to help Constance kill Maurice.

The first half of the film is much better than the second, as A Quiet Place to Kill unfortunately looses a bit of steam once it gets the first part of the plot out of the way. In spite of that, however, the film is certainly a very interesting Giallo and definitely delivered many of the things I love about this type of film. Umberto Lenzi manages to ensure that all of the major players are interesting, and Lenzi also ensures that all are guilty in one way or another, which ensures that everyone deserves what they get by the time it finishes. Carroll Baker is not my favourite Giallo heroine, but I liked her in this one. She seems to enjoy acting alongside Jean Sorel, who is as charming as ever. Unknown actresses Anna Proclemer and Marina Coffa round off the cast, along with the experienced Alberto Dalbés - all of which fit into their roles well. The upper class setting does the film a lot of favours, and the locations and fashions are all nice to look at. The plot mostly flows well and while it's usually fairly clear where it's going, A Quiet Place to Kill still manages to be interesting. This is not the best Giallo that Lenzi made (that would be Seven Blood-Stained Orchids), but it's certainly a good one and I recommend it.

It's about three people, and one of them dies, and then often ridiculous consequences ensue for the two left. That's the plainest way to summarize A Quiet Place to Kill, and though it's not too special, I think it's fairly entertaining for a sleazy and in-your-face movie of its age. It's now old enough that the sleazy stuff feels a little more quaint, so watched today, it's almost restrained, in a way? I wouldn't go as far as to call it classy, but if it had been made a little more recently, I think it could've overstepped certain things.

Anyway, it's still pretty much a soap opera, but it works if you're after something heightened, melodramatic, and pulpy. My mind wasn't on this 100% while it was playing, and I actually think that was the ideal way to engage with it, in all honesty.

The engaging, jet-set jazzy thriller, 'A Quiet Place to Kill' (1970) aka 'Paranoia' is another visually resplendent, sinfully stylish Giallo from the playful master of sexual intrigue, Umberto 'Eyeball' Lenzi. Many Gialli fans share the opinion that this murderously Machiavellian Mediterranean outing is markedly inferior to his iconic, highly regarded, Martini-cool Giallo masterclass, 'Orgasmo' (1969), but maestro Lenzi's fizzy, cocktail-fuelled psychodrama, 'A Quiet Place to Kill' distils a no less intoxicating plot, as our emotionally fragile heroine, Helen (Carroll Baker) recuperates from a car accident, she fatefully reunites with her dashingly duplicitous ex-husband Maurice (Jean Sorel), and before you can say 'lashings of J&B-laced jiggery-pokery', increasingly fell deeds turn Helen's louche, seaside convalescence into a memorably murderous ménages à trois!

With its luxurious lounge-core soundtrack, ubiquitously labyrinthine plotting, glamorous vistas, sublime fashions, and a nuenced performance from one of the most delectably diminutive divas of Gialli, the golden-haired, sinfully skittish, glitteringly glamorous screen goddess, Carroll Baker. Sadly, poor Helen suffers greatly at the manicured hands of her scheming, beguilingly suave, cocksure paramour Maurice. This preternaturally gorgeous male, disingenuously clad in benign, pastel-hued v-neck sweaters, slyly harbours hateful plots against his significant others! Incredibly, Sorel's perverse preference for Val Donican's Christmas wardrobe does little to mute his sleekly manipulative portrait of a callous, languidly libidinous playboy on the make, thereby making the appealingly sin-dappled, breezily-paced, 'A Quiet Place to Kill' a scintillating, must-see Giallo for all Lenzi-Baker Gialli fans!