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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.

Notable actors: Carroll Baker! Jean Sorel!

I'm required by law to explain that the alternative title for this film is Paranoia, but that is the real title of Lenzi's other Giallo, Orgazmo, and that there's another Umberto Lenzi film called An Ideal Place to Kill too. Also, at least four Umberto Lenzi gialli star Carroll Baker, and additionally they are all generally of the 'bunch of people scheming against each other' plots rather than 'someone carving up Euro-babes' variety. Got that?

*Absolute silence from the rest of the Universe*

Right. This one starts off with Carroll Baker as a racing car driver who has some sort of brain fart while driving and ends up in hospital. Once discharged, she finds that she's been invited to the big fancy house of ex-husband/complete jerk playboy shag machine Jean Sorel, who previously mooched all of her money. Being a character in a film, she doesn't just throw the invite in the bin, but instead immediately packs her bags and drives off there.

Once there, Carroll realises that Jean has remarried an extremely rich lady who owns oil fields. It also turns out that this lady is the one who sent the invite - but for what reason? To play footsie with her under the table while Jean is doing the same thing? This lady, Constance, wants to be Carroll's new special friend, but is it for the usual giallo reasons (i.e slow motion lesbian sex scene)? Much discussion of how men are bastards ensues.

It's hard to write about these films without revealing the entire plot, and the twists are the highlights of the film, so let's be as vague as possible. There may or may not be a murder halfway through the film but a tremendous amount of obstacles suddenly present themselves that the killer (or killers) that they have to surmount to avoid being caught (that's if they murdered anyone, which they might have). Someone with a film camera may or may not have unwittingly filmed the murder which possibly leads to a hypothetical scene where everyone involved has to watch the film, plus there might even be the sudden appearance of someone else later in the film to throw a spanner in the works. Or perhaps not.

What I will reveal is that Umberto Lenzi further cements his position as the top animal killer of Italian cinema by having a scene set at a pigeon shooting club. It isn't enough that the guy would go out of his way to kill animals in his cannibal films, but here's a giallo that racks up a few pigeon deaths for the sake of a film. LEEENNNNZZZIIIII!!!!!

Just like his other late sixties Gialli, Lenzi has the whole film look amazing, keeps the camera angles fresh, but reigns in the psychedelics. He does include the old 'dancing in the club' scene that's a favourite from this particular era, including a band who wouldn't have looked out of place in the early nineties!

Slow to start, but as usual Lenzi proves he can tell the same story, with the same actors, a different way, and have everything and everyone look like an ad for a holiday villa.

And that's it - that's all the Carroll Baker gialli watched too, with the exception of some obscure psuedo-giallo called The Body from 1974. Carroll would later go on to star as the pushy mother of the bad guy in Big Arnie's Kindergarten Cop!

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 ****