Paranoia (1970) - User reviews - IMDb

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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!

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!

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.

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.

*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.

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!

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!

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!

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 ****

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 ****

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.

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.

The lead actress in a series of four Umberto Lenzi films always looks intentionally "dated" and middle aged, and I have never been clear on why this is. Allegedly a sex symbol, Baker - who was in her 30s and early 40s while starring in Italian films - perpetually looks stuck in early Sixties, like a rather average but pretty housewife who stopped paying attention to youthful fashions years ago. She sticks out like a sore thumb in most giallos I've seen looking faintly older, too American, and so boring and conventional compared to other prominent giallo actresses of that era. And in truth she was about ten years older than most of them, and sometimes played widows or MILF-like characters, but I've always failed to grasp why she seems stuck in the "short hair" and beach blanket bingo side of the 1960s.A Quiet Place to Kill, one of her later films, ironically showcases Baker finally looking like she's paid attention to the passage of years. It's as if a hair and make-up artist just finally lost their patience with her and said "look, it's the 1970s, you're going to have to stop this pedal pusher garbage, now put on this wig!"

The lead actress in a series of four Umberto Lenzi films always looks intentionally "dated" and middle aged, and I have never been clear on why this is. Allegedly a sex symbol, Baker - who was in her 30s and early 40s while starring in Italian films - perpetually looks stuck in early Sixties, like a rather average but pretty housewife who stopped paying attention to youthful fashions years ago. She sticks out like a sore thumb in most giallos I've seen looking faintly older, too American, and so boring and conventional compared to other prominent giallo actresses of that era. And in truth she was about ten years older than most of them, and sometimes played widows or MILF-like characters, but I've always failed to grasp why she seems stuck in the "short hair" and beach blanket bingo side of the 1960s.A Quiet Place to Kill, one of her later films, ironically showcases Baker finally looking like she's paid attention to the passage of years. It's as if a hair and make-up artist just finally lost their patience with her and said "look, it's the 1970s, you're going to have to stop this pedal pusher garbage, now put on this wig!"

Oh, and the giallo itself is pretty middle of the road. Not my favorite but not terrible.

Oh, and the giallo itself is pretty middle of the road. Not my favorite but not terrible.

Welcome to Umberto Lenzi's early 70's giallo/crime thriller "Paranoia" starring the unearthly beautiful Carroll Baker... Hey, wait a minute, haven't I watched and reviewed this movie a couple of days ago already? Oh right, that was the OTHER Umberto Lenzi early 70's giallo/crime thriller "Paranoia" starring the unearthly beautiful Carroll Baker, more commonly known as "Orgasmo". Confusing? Well, maybe a little, but rest assured these are two entirely different movies of which the stories & characters aren't linked to each other at all. The other "Paranoia" is also far superior to this one. That particular movie had tons of suspense, likable characters and convoluted plot-twists whereas this one is painfully boring. This film features TWO worthwhile scenes, both involving wild car accidents, one at the beginning and one at the end and everything in between is one gigantically uninteresting, predictable and overlong love-triangle between three characters. It all starts with Mrs. Baker stars as a rather free-spirited race car pilot who crash-parks her car on the circuit and ends up slightly wounded in a hospital. During her period of recovery, she accepts to stay at her ex-husband and his new wife's mansion. Two attractive women and one incomprehensibly handsome guy (really, Jean Sorel is way too good-looking!) in one house can only result in extended sequences of sexual intrigue, double-crossing and conspiracies to murder. It's all a lot less exciting than it sounds and only the good acting performances keep it endurable. The filming locations and music are stylish, but that's not enough in this case. Easily the most disappointing Lenzi-film I've seen thus far.

Welcome to Umberto Lenzi's early 70's giallo/crime thriller "Paranoia" starring the unearthly beautiful Carroll Baker... Hey, wait a minute, haven't I watched and reviewed this movie a couple of days ago already? Oh right, that was the OTHER Umberto Lenzi early 70's giallo/crime thriller "Paranoia" starring the unearthly beautiful Carroll Baker, more commonly known as "Orgasmo". Confusing? Well, maybe a little, but rest assured these are two entirely different movies of which the stories & characters aren't linked to each other at all. The other "Paranoia" is also far superior to this one. That particular movie had tons of suspense, likable characters and convoluted plot-twists whereas this one is painfully boring. This film features TWO worthwhile scenes, both involving wild car accidents, one at the beginning and one at the end and everything in between is one gigantically uninteresting, predictable and overlong love-triangle between three characters. It all starts with Mrs. Baker stars as a rather free-spirited race car pilot who crash-parks her car on the circuit and ends up slightly wounded in a hospital. During her period of recovery, she accepts to stay at her ex-husband and his new wife's mansion. Two attractive women and one incomprehensibly handsome guy (really, Jean Sorel is way too good-looking!) in one house can only result in extended sequences of sexual intrigue, double-crossing and conspiracies to murder. It's all a lot less exciting than it sounds and only the good acting performances keep it endurable. The filming locations and music are stylish, but that's not enough in this case. Easily the most disappointing Lenzi-film I've seen thus far.

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.

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 bit more energy than some of Lenzi's more sluggish films... there is some good tension here between the characters. It is well acted. Again, with most of Lenzi's work, all of the events don't quite add up when all is said and done, but at least the ride was fun and engaging! Very low body count. This one is not about giallo violence and focuses more on the emotional journey of the characters in the wake of a mysterious death.

A bit more energy than some of Lenzi's more sluggish films... there is some good tension here between the characters. It is well acted. Again, with most of Lenzi's work, all of the events don't quite add up when all is said and done, but at least the ride was fun and engaging! Very low body count. This one is not about giallo violence and focuses more on the emotional journey of the characters in the wake of a mysterious death.

(1970) A Quiet Place To Die DUBBED THRILLERHelen (Carrol Baker) is a race car driver who just went into another accident while driving around the track. And by the time she recovers, she then leaves the hospital with nothing but bills. Her publicist then hands her a telegram of an invite to stay with his ex at the villa. By the time she arrives, she is then greeted by his wife, Constance Sauvage (Anna Proclemer) of six years. And as it turns out it was not her ex-husband, Maurice Sauvage (Jean Sorel) who sent Helen that invite but Constance. And besides Constance paying all of Helen's medical bills and the race car she has wrecked, she then makes another proposal to her one of which to help her get rid of her husband, Maurice who used to be Helen's ex, since she did try to kill him once. The reason is because of money, for as long as Constance still has some left, but that as soon as the money is all gone, Maurice will be leaving Constance for someone else. It was at this point, Helen could not decide whether she is still in love with her old flame Maurice or just leave as there was a time when Helen did not want to be involve with whatever she was in until Maurice forced to make her stay by stealing a washer from her car.

The twists and turns does not add up that also includes Maurice's step daughter and biological daughter of Contance, Susan Sauvage (Marina Coffa); a friend of the family, Dr. Jacques/ Harry Webb (Alberto Dalbés) and his wife, Solange (Liz Halvorsen) who had his own video camera; and the detective in charge of whatever is happening Jaime Doleman. And throughout the entire movie Carroll Baker appears to be the only actress who was naked. And it is like, I can watch her strut around nude all day for if she was nude throughout the entire movie I would have given this a pass, but because she is not. This is yet another disappointing movie starring Carroll Baker.

Link
https://www.imdb.com/title/tt0064787/reviews/
Summary
The article reviews the 1970 Giallo film 'A Quiet Place to Kill' (also known as 'Paranoia'), directed by Umberto Lenzi and starring Carroll Baker and Jean Sorel. The plot follows Baker's character, a racing car driver recovering from an accident, who visits her ex-husband Sorel, now married to a wealthy woman. The film explores themes of betrayal and intrigue, with a focus on the complex relationships between the characters. Critics note the film's stylish visuals, engaging plot twists, and the glamorous performances of Baker and Sorel. While some reviewers find the narrative convoluted and the characters shallow, others appreciate the film's aesthetic and the tension it builds. The film is characterized by its luxurious settings, a jazzy soundtrack, and a mix of sexual intrigue and murder, typical of the Giallo genre. Despite mixed reviews, it is considered a notable entry in Lenzi's filmography, showcasing his ability to create visually stunning and thematically rich cinema. The article also highlights Baker's significant contributions to the Giallo genre during her time in Italy, contrasting her earlier Hollywood roles with her later work in Italian cinema.