Stiefel, die den Tod bedeuten

Sarah (Mia Farrow) is staying in the country with her aunt and uncle on their vast estate, far removed from the noise and chaos of the city. Unfortunately, these fine people have returned from a trip to said urban center, unaware that someone there has taken an unsavory interest in them.

Soon thereafter, Sarah returns from an outing, and goes about her usual routine, not knowing that her loved ones have met with a catastrophic end. Sarah is blind, and can't see the carnage as she navigates through the huge house. The dire circumstances become a nightmare, and Sarah finds herself hunted by a murderer, identified -to the viewer- only by his distinctive footwear.

Director Richard Fleischer keeps us in the dark with Sarah, using the camera to trick and jolt us along with her. SEE NO EVIL is another fantastic thriller for Ms. Farrow. This time, instead of the Devil, she must attempt to flee from an unknown psychopath. Her sightless journey is nerve-jangling and treacherous, loaded with a school of red herrings! This film is for lovers of mystery, suspense, and the cold touch of horror...

AKA "Blind Terror", which I think is the better title. Mia Farrow plays Sarah, a young woman who has lost her sight. She is staying with relatives at their mansion in the English countryside but things go terribly wrong when an unknown maniac enters the house. A tense game of cat and mouse ensues when she is left alone with the killer after he has killed the other occupants. This is a bit of a slow burn but is worth the watch. Sarah really does suffer and Farrow delivers a fine performance, she is the best thing about this film. There are plenty of effective moments of terror on offer. Sarah is unaware that her family members have been murdered, unable to see the corpses scattered around the house but we can see them and it really is quite horrific. Great camera work, good cast - some very familiar faces to British audiences in particular - and plenty of groovy 70's fashions and tunes. The identity of the killer is not revealed until the end, with a red herring thrown in. My only criticisms are that the film is a bit slow at times and I could see no explanation as to why the events took place, but overall a good, tense chiller.

The appearance of Brian Clemens' name in the credits of any film or television production is, for me, kind of like a Seal of Approval. From the hit '60s TV show "The Avengers" to such marvelous horror films as "Dr. Jekyll and Sister Hyde" ('72) and "Captain Kronos: Vampire Hunter" ('74), the man has never let me down. And, I'm happy to report, his "See No Evil" ('71) is no exception. In this one, the recently blinded Sarah, superbly played by Mia Farrow, comes to live with her aunt's family...a family that is soon butchered by a "maniac on the loose." All we know for sure is that this wacko sports a pair of gold-starred cowboy boots, which knowledge has us glancing suspiciously at the footwear of every male character in the film, natch! It is almost agonizingly suspenseful watching poor Sarah putter around her aunt's home, unaware of the bodies lying so close to her, and that suspense is only ratcheted up several notches when she finally does learn what has happened, and that the killer is on his way back to the house. I don't think the Master of Suspense himself, Alfred Hitchcock, could have squeezed any more tension out of this scenario than writer Clemens and director Richard Fleischer have done. Besides this wonderful setup, which may have viewers recalling such other "handicapped women vs. psycho killer" films as "The Spiral Staircase" ('46) and "Wait Until Dark" ('67), the film gives us some beautiful views of the autumnal Berkshire countryside and another fine score by the great Elmer Bernstein. But this is Farrow's show all the way, and she is utterly convincing as the blind and fragile, yet spunky and surprisingly resourceful Sarah. My stomach was in knots by the end of this British wringer, and I would have to say that "See No Evil" is one that you absolutely must see....

The first 45 minutes of "Blind Terror" are excellent and you have the feeling you're watching a great thriller. Director's Richard Fleischer handling of the atmosphere and introduction of the psycho killer just by showing his feet wearing cowboy boots is brilliant.

But then the boots chase a blind Mia Farrow and as she gets away the film sort of looses intensity and impact and becomes sort of slow. It recovers later with the final sequences and revelation of the psycho.

Mia Farrow's performance as the menaced blind victim is excellent.

Although no one could say this is not an entertaining and exciting thriller -mainly fans of the genre-, you get the feeling that it could have been even better if that in-the-middle-sort-of-bump could have been avoided.

All in all, "Blind Terror" is a good thriller worth watching. A 7 (out of 10) for me.

Mention Mia Farrow's name to horror fans and most of them will instantly (and understandably) think of Polanski's classic, Rosemary's Baby; my immediate thought, however, would be of Blind Terror, a lesser known thriller in which Ms. Farrow plays Sarah, a blind girl whose relatives become the target of a psycho killer after her uncle accidentally splashes the loony's precious cowboy boots. I first saw this film at a rather tender age and its macabre concept, senseless killing and shocking images have haunted me ever since.

Directed by Richard Fleischer, Blind Terror opens with our nutter leaving a cinema (having caught the amazing sounding double-bill of 'The Convent Murders' and 'Rapist Cult'). He then passes a newspaper stand displaying horrific headlines, a store with a display of toy guns, and a TV shop showing a bloodthirsty film; violence, it seems, is all around us, although often we choose not to see it. Poor blind Sarah, on the other hand, doesn't have much of a choice: after the soggy-footed psycho pays a visit to her Uncle's farmhouse (whilst she is out with her boyfriend), she returns home, and prepares for bed, all the while blissfully unaware that the bloody corpses of her nearest and dearest lay all around her.

Only when Sarah eventually tries to get into her bath does she realise that something is terribly wrong—because that's where her uncle's lifeless body has been dumped! Meanwhile, the killer discovers that he has left behind a vital clue that could reveal his identity, and returns to the farmhouse to find it...

Fleischer's deliberately paced and carefully considered direction (which makes brilliant use of imaginative camera angles and cleverly framed shots), combined with excellent cinematography from Gerry Fisher and a completely convincing central performance from Farrow, ensure that this film is a success despite a few rather contrived moments in an otherwise well-crafted script by Brian Clemens (a case of mistaken identity at the end of the film is rather far-fetched, and the fact that Sandy, Sarah's pretty cousin, would date a 'diddycoy' is also difficult to swallow).

Atmospheric, suspenseful, and packed with nerve-shredding moments, Blind Terror is an under-rated slice of 70s British cinema that, although not perfect, is still well worth seeking out.

7.5 out of 10, rounded up to 8 for IMDb.