Formule un

When you think of Carroll Baker, you most likely remember her roles in Elia Kazan's "Baby Doll" or George Stevens's "Giant", or something of that nature. What you might not know is that she spent a few years in Italy starring in giallo movies. Among her most notable outings in this genre were Umberto Lenzi's movies. She started with his "Orgasmo"* (called "Paranoia" in the US), playing a rich woman from the US who has a bizarre experience with some young people in Italy. Another entry in this genre was Lenzi's "Paranoia" (called "A Quiet Place to Kill" in the US, to avoid confusion with the other movie).

My interpretation of this movie is clouded by the poor copy that I watched; the DVD kept skipping over damaged areas, so I don't know how much of the movie I saw. What I saw was tolerable, if less than stellar.

Whatever the case, these movies are good for a watch. And seriously, was Carroll Baker a babe or what? Okay, if nothing else.

*I learned of Baker from this movie. It turned out that I'd already seen her in some movies, but she hadn't registered in my mind previously.

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.

I recently watched the Italian thriller A Quiet Place to Kill (1970) on Shudder. The storyline revolves around a wealthy woman fed up with her husband's womanizing and leaching behavior. To be rid of him, she invites his ex-wife to help in her plan, creating a slippery love triangle where the stakes of life and death become uncertain.

This picture is directed by Umberto Lenzi (Cannibal Ferox) and stars Carroll Baker (Kindergarten Cop), Jean Sorel (One on Top of the Other), Luis Dávila (Mission Stardust) and Alberto Dalbés (Kiss Me Killer).

This unique Italian picture, predating the giallo boom, incorporates elements from that genre, engaging in cat-and-mouse games and keeping viewers guessing about who is playing whom. The kills are creatively executed, concealing motives until the end. Outstanding acting, particularly from the gorgeous Carroll Baker, adds to the film's appeal. Multiple twists at the end blend triumph and tragedy.

In conclusion, A Quiet Place to Kill is a well-written and executed slow burn, making it enjoyable to watch unfold. I would give it a 6/10 and recommend seeing it at least once.

I was somewhat confused as it appears that Italian director Umberto Lenzi, who will always be known in my book for his notorious cannibal flicks, has two movies that share the same alternative title, and they were only made one year apart. Even on the disc extra he seems a little confused himself when talking about it! Anyway, this Paranoia is not a horror movie, Furthermore there is no unknown killer, we know who the killer is, but the police don't. So I'd be hard pressed to call this a genuine Giallo, though it certainly has some traits of that sub-genre. As is so typical of Italian movies from this time Paranoia is stunningly beautiful, every scene is like a piece of art. Accompanied by beautiful naked women, fast cars, bottles of J&B whiskey and a jazzy soundtrack this is a very cool movie, with some great plot twists and turns One of the highlights is a fast car ride along a winding road with sharp hair pin turns and sheer drops into the sea. It actually made my palms sweat! Great movie.

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.