Yes, things look a little different here today. This review is part of The Nitrate Diva’s 2013 Italian Film Culture Blogathon, a celebration of all aspects of Italian film culture. And as such, we’re including a little background information for those readers not accustomed to giallo. Without further ado …

You know, there are directors who achieve fame or notoriety chiefly through a particular work (or even a couple), regardless of how representative it is of their oeuvre. To the general public, Umberto Lenzi likely means nothing, except perhaps, “What gibberish are you talking now?” but to horror fans, Lenzi means Cannibal Ferox. Nightmare City. Maybe even Eaten Alive! Which are all … decidedly not good. Some might go so far as to call them worthless trash. And that’s a damn shame, because Umberto Lenzi–and he will be the first to tell you this–has made a number of fine films, or at the least, far better ones over the course of his long career. I’d say the majority of his pre-1980 work is better by far, but it’s Lenzi’s curse to be known best as a purveyor of ultraviolent cannibal sleaze.

Lenzi’s strengths lie chiefly in action and exciting set pieces, and accordingly some of his finest work is in the poliziottesco filone–the “tough cop” crime and action flicks of the Seventies inspired by the likes of Dirty Harry. Lenzi’s poliziotteschi are easily comparable to the best of the filone by acknowledged masters like Di Leo, Dallamano, and Castellari. But before the rise of the poliziottesco, there was the giallo.

For those tyros tuning in Wikipedia can provide a quick background on the giallo; for our purposes, the essentials are that the giallo was a sort of crime thriller popular in the Sixties and Seventies; it was during the latter decade that the genre peaked (about 1972). In 1963’s The Girl Who Knew Too Much and 1966’s Blood and Black Lace Mario Bava laid out the general narrative structures and tropes of the filone (later playing with those same generic conventions in a string of ever more experimental gialli), while Dario Argento’s 1970 debut The Bird with the Crystal Plumage upped the ante with yet more violence and psychosexual drama–and was an international breakthrough hit. (Note that this film and Bird were released simultaneously, AQP2K coming out one day after Bird.) It is Argento’s work (in the vein of Bava) that is synonymous with the current popular conception of the giallo–complete with elaborate violence, kitschy style, and often impenetrable plotting. Most of the gialli popular today are from the “classic” period of 1970-1975, and therefore are considered direct descendants of Bird, and so the relentless discussion among fans and purists of just what does or does not constitute a “proper” giallo works from Bird’s example. And the Sixties gialli (saving Bava’s work, of course–in MOST instances) often fall victim to the “but really, what IS a giallo!?” nitpickers, particularly the type we’re discussing here, the sexy-thriller lenziani.

(Wait, what? That dude we just mentioned, the one largely reviled by anyone other than ardent gorehounds or fans of Eurocrime ? That guy has like, a film genre filone named after him? Yeah, pretty much. And it’s awesome!)

Differing from the Argento-type gialli in that they’re less mystery thrillers than suspense thrillers, i.e., the killer’s identity isn’t usually a mystery, but rather the mystery lies in whether the killer will get away with their crime–and sometimes (always?) whether there is yet ANOTHER layer of duplicity. Less Agatha Christie than Hitchcock, these Sixties sexy-thrillers lenziani are also more Clouzot’s Les diaboliques than anything else. Think of the sexy-thriller lenziani as a gorgeous detour on the way from Bava to Argento, one that winds its way through sunny Mediterranean locales populated by the rich and glamorous. Carroll Baker and Jean Sorel will be there, looking fine, and there will be more of the beautiful people–and many of them will be nude! There will be scads of booze and pills, women and song, lies and videotape. We’re going to hop into a sporty little roadster and speed down treacherous serpentine roads until we reach the shocking conclusion of the sexy-thriller lenziani.

Paranoia

aka A Quiet Place to Kill

aka Os Ambiciosos Insaciáveis

aka Una droga llamada Helen

Director: Umberto Lenzi

Released: 1970

Starring: Carroll Baker, Jean Sorel, Anna Proclemer, Luis Dávila

Running time: 94 min

Genre: giallo

Women are sometimes silent, but never when there’s nothing to say. Lilian Terry, however, has plenty to say. She begins crooning “You,” the title track to Paranoia, over some Umiliani loungey jazz stylings. As the credits roll, we see … I don’t even know what, but it sure is exciting! It’s all in Glorious Negativecolor, for one. There are zooms on women walking and staring, and cameras rolling–on us! There are reflections and distortions, rack focusing and women appearing, always staring. There’s a gun! And a crash! And a struggle! There’s running, and slapping, and ominous men in suits! And yet more staring, staring, staring! That dratted camera again! And it’s all tremendously exciting with the crooning the reversed colors and the THINGS HAPPENING. Finally, we see–who? Oh, it’s La Baker, and she’s ready for some Formula 1 fun.

And there we are, transported to a racetrack where Helen is a racecar driver, a veritable Maria Andretti. Only she sees (hallucinates? recalls? envisions? prophesies?) a handsome man (Jean Sorel) standing on the track–all we need now is Mary Weiss shrieking “Look out, look out look out!”–a swerve and a crash! The ambulance rushes the driver away, she goes into surgery, and then it’s … some time later, and Helen’s apparently recovered. Oh, all but her nerves, which are shot per the doctor, she’ll never race again. He also warns her against excitement, sex, smoking and drinking. Allowed to choose one but vice, Helen goes with whiskey, jettisoning playboys and fun. It’s not all so bad, however, as she’s also given a lifetime membership to the Valley of the Dolls–as long as she never takes one on an empty stomach!

Leaving the hospital with her erstwhile flunky/manager/paramour/hair model, Helen gets the bad news that she’s on the hook for MILLIONS (of lira, so who cares, it’s not like it’s real money anyways) for her hospital treatment and stay. Also for even more MILLIONS (see above) for the racecar she wrecked. On the plus side, she’s got a telegram from some well wisher! There’s always a silver lining. Turns out that the telegram is from Helen’s ex-husband Maurice, who’s got a villa in Mallorca, and suggests she visit. Playboy von Glamourhair makes a whiskey stop, and while he’s in the shop, Helen absconds with his sporty little car, headed for Mallorca.

In sunny Mallorca, however, Helen will find that it was actually Maurice’s WIFE (!!!) Constance who sent the telegram. And though she’s hesitant about joining Maurice and Constance for a little menage, their frolicsome fun in the sun life is just irresistible. As is Maurice. He’s just as deliciously seductive as he was when Helen married him (seriously, have you SEEN Jean Sorel!?), and Helen’s just as much under his spell as she ever was. Also under the influence of a drug called Maurice is Constance–but she yearns to break free. She enlists Helen in the founding chapter of Maurice Anonymous, and under her program the first step is murdering Maurice.

Murder is plotted and a murder occurs, but whose? Will the perpetrators convince the authorities of their story? Was the crime caught on tape? And just what is that untrustworthy nymphette Susan up to? It’s all J&B and jetsetters, women and Wess & the Airedales, upskirts and Umiliani until someone gets hurt–or dead.

A typical European male: selfish amoral, and corrupt. Between Bava and Aregnto there was a school of gialli rather unlike those with which we are more familiar. They are the psycho-sexy thrillers lenziani, and, well, guess who was the master? These gialli by way of Hitchcock and Clouzot–often with a noirish touch–are a breed apart from the post-Argento giallo, although their influence shouldn’t be underestimated.

Fisty: Let’s talk negatives first, specifically, that credits sequence. Maybe I suffer from short-term memory loss, but that was one of THE most exciting credit sequences I have ever seen. The first time I watched Paranoia, I remember being so jazzed within thirty seconds that I was jumping up and down, jizzing, texting, and tweeting. Then I tore my hair out. And started scream-crying, like footage of girls seeing The Beatles or Danny Bonaduce in person for the first time. I’m kind of getting the urge to start doing that again right now, actually. The music! The action! The cutaways! The crazy colors! SO. MUCH. EXCITEMENT.

You know, normally we wouldn’t spend so much time, either in the synopsis or the actual review, discussing a credit sequence, but in this case it’s absolutely warranted. The brilliant (yes, I am applying that adjective to Umberto Lenzi, more on that momentarily) thing about the sequence is not only how (incredibly) exciting it is, but the way it–well, I’ll let you take this one, Billy.

Bill: First, let me explain to the readers (as if we have those–HA!) what the hell you’re talking about, in case we aren’t being clear enough.

For anyone that hasn’t seen Paranoia (which I will now begin calling A Quiet Place to Kill or AQP2K for short–I’ll come back to that in a second,) the entire opening credit sequence is a montage of scenes from the movie with the colors reversed or, say it with me, “in NEG-UH-TIVE.” Now go back and read Fisty’s first sentence and laugh at her, because she’s funny. You can always trust her to bring the wits and class. She really was as excited as she claims about that opening sequence, too. That is not hyperbole. Her excitement was warranted though. It really is a kick ass way to open the movie … and kind of brilliant. You see all this struggle and violence and trippy, fun-looking stuff that foreshadows everything you’re about to see, while still keeping you clueless as to which things will be happening to what characters, since it’s so hard to recognize people in negative. Once you have seen the flick and re-watch that part, knowing exactly what you’re seeing in the intro makes it even cooler. One negative about the negative (I stole that from you, Fisty,) it does also tend to make everyone look a bit like poorly done CGI characters when they move. But there’s no way Lenzi could’ve have known that in 1970.

Getting back to the title thing … Umberto Lenzi’s Paranoia came out in 1969, starring Carroll Baker only to be followed by Umberto Lenzi’s Paranoia, which came out in 1970 starring Carroll Baker. SAY WHAT?! The ’69 film, known as Orgasmo in Italy, was retitled to Paranoia for international release. The ’70 film, Paranoia–that’s the one we’re doing now–was given the same name as the U.S. re-title of Orgasmo. So, to avoid confusion, they retitled Paranoia as A Quiet Place to Kill internationally. This attempt to avoid confusion has failed. I got confused just writing this. Seriously, what the hell, man? Is the “ridiculous” in our “ridiculous re-titles” tag even a strong enough word for this tomfoolery, Fisty? Do we need a new tag? Maybe something with curse words in it?

Fisty: Dude, it gets better! The title of Lenzi’s 1971 giallo Un posto ideale per uccidere translates to An Ideal Place to Kill, though it was released in the US as both Oasis of Fear and Dirty Pictures. So after releasing Paranoia with the international title A Quiet Place to Kill he released another film with a similar title. AND, his original intent was for Orgasmo to be titled Paranoia. What with the reuse of Wess & the Airedales’ “Just Tell Me” in both Orgasmo and A Quiet Place to Kill, I think Umberto Lenzi gets a wee bit fixated on motifs now and again.

Bill: You don’t say? Could you call filming with a glass of red liquid ruining your shot twenty-eight different times in one movie a motif he was stuck on? If so, then I agree. He is a better filmmaker than most people that know him only for cheap exploitative thrills would probably realize, but in this instance, I have to wonder what he was thinking. I just don’t get it. I don’t understand why he would intentionally ruin his shot over and over with the glasses. There’s a few other scenes with, like, planters and vases in the foreground that throw you off, too. Is this some cultural thing that I’m not understanding? Just an eccentricity of Lenzi? Was this movie originally meant to be in 3D (with a funky disco cocaine theme song)?

Fisty: (Inasmuch as disco’s progenitors include funk, lounge, psychedelica, yes. Sort of.) But no. Those shots are hardly “ruin[ed],” Bill. Your use of “intentional” there should clue you in to what Lenzi was playing at with the different compositions –and AQP2K is indeed chockablock with funky yet elegant shots. Lenzi seems a bit experimental, like he’s playing more with different ways of telling the story visually rather than simply through the narrative, and that the tricks aren’t there just to to heighten dramatic impact. That showy rack focusing you find so distracting? Another way for Lenzi to show how the roles of victims and perpetrators become increasingly blurred and overlapping, the ways in which motives are obscured.

Lenzi also throws a lot of mirrored or double compositions and subjective camera shots into the mix, further playing with notions of just who’s doing what to whom here. Some of my favorites involve Helen and Constance, particularly their first scene (featuring a stunning gold crackle mirror tiled fireplace!), in which they’re both wearing green, establishing their jealous natures. Lenzi plays with color quite a bit, clothing Constance–and in one episode, Helen–literally in gold, symbolizing perhaps a deeper motive, and of course the film is practically awash in the red stuff. No, not blood (these Sixties gialli are rarely bloody), but myriad red libations–what are they, aperitifs? Campari or vermouth? I have no idea. Those little red glasses of SOMETHING potent–that’s important, Bill–are some of the worst offenders in those shots you hate. But Lenzi liberally splashes his film with red, the color of passion, anger, and blood.

Bill: I’m down with all the mirrors and the colors and characters dressing as one another and the flashes of memories and imaginings he uses to keep things twisty-turny and have the audience questioning everything. That’s all done very well. But whatever Lenzi was trying to get across by sticking a bunch of blurry crap in our faces, so we can’t even see the actors, he failed. Sure, you can say he hiding the actors behind a mask of colors that represent their passions to show how those overpowering emotions are occluding their rational selves or whatever bunk you want throw out about it, but really, he could’ve done that in a much less annoying way. I think he did manage the same thing in other films without making me use my rage face. At least I don’t remember it being as jarring in Orgasmo or So Sweet… So Perverse. I know Fulci has used similar ideas in, for instance, Perversion Story, but it wasn’t as frequent and it came off as cool, instead of … irritating. I don’t want to say this is because Lenzi is a bad filmmaker. Like I said earlier, he’s better than most give him credit for. I like him. But he is kind of eccentric and, I think, has a harder time pulling off ideas like that in a successful way. Or maybe he’s just a genius and he’s too smart for his own audiences. What do I know? I mostly watch these flicks for the sex and violence.

Mmmmm, violence. But only some! These lenziani tend to be fairly light on violence compared to other gialli, and that’s why they usually aren’t my favs. They do typically make up for it in other ways, however, like adding plenty of salacious kink, bodacious style, beautiful locales, and vice vice vice! There’s booze and pills and T&A and sexual sadism, like Forbidden Photos of a Lady Above Suspicion‘s Minou (who would totally be besties with Helen) in her sexy surrender scene in that movie, or the stylistic brilliance of Fulci filming a sex scene from the POV of a bed in Perversion Story. The pop culture hipness of The Sweet Body of Deborah is the big draw for me there, with a comic book themed nightclub and permanent Twister fixtures in the front yard. And Lenzi’s own Orgasmo keeps me rapt with the psycho-sexual torment a cute young couple put Carroll Baker through. AQP2K tries to make up for its lack of a body count by having Helen be naked pretty much every 10-15 minutes or so, which, believe me, I did appreciate. There’s also a fun club scene with a bitchin’ dancin’ girl upskirt (but, ugh, the song almost ruins it,) a fantastically bizarre cavern club, and some crazy, fun other stuff, like Hitchcock nods, Jean Sorel being ridiculously entertaining, and a scene with a stuffed fox monster … thing. And plenty of lovely decor, sets and artsy scenes, not counting those stupid drinking glass in the foreground ones. But, personally, I don’t think it was enough. I liked it and I certainly was never bored, but I don’t think it rises to the level of the other films I mentioned.

Fisty: I know some of his choices irritate you (though you’re TOTALLY wrong), but it’s important to note that Lenzi’s stylistic choices are used consistently and coherently; the style essentially delineates the text.

For me, AQP2K has an elegance, a neatness, a … well, I’m just going to go ahead and quote Margaret Mitchell here: There was a glamor to it, a perfection and a completeness and a symmetry to it like Grecian art. Some–including Bill here–might argue my use of “perfection,” but when we take the concept of perfection back to it’s origins (sup, Aristotle!), we’re talking about something that is not only the best of its kind, but that is a whole, not missing any of its parts, and that it achieves its purpose. Though it might be argued (okay, is argued here) that AQP2K is not the best of its kind, it’s undoubtedly a consummate sexy thriller lenziano, made up of all the requisite parts. And most importantly for this argument, IT DOES WHAT IT SET OUT TO DO. Or rather, what Lenzi set out to do. To it. With it. Or something. Whatever. AQP2K is sexy, thrilling, and entertaining–and that’s exactly what we ask of gialli, be they in the style of Bava or Argento or Lenzi.

And lest we forget, AQP2K is technically excellent in every respect. The cast nails it; they don’t just hit their marks but inhabit their roles–Sorel and La Baker in particular playing signature character types. The psychology of the characters is credible, particularly Helen’s (and to a lesser degree, Constance’s) embodiment of Carlos Fuentes’ statement “Jealousy kills love, but leaves desire intact.” There’s a rococo look to it as well, from the sunny, golden exteriors in Mallorca to the literally glittering interiors–and costumes. And Piero Umiliani’s loungey score repeats the title theme when apropos, and otherwise provides a pleasantly snazzy background.

Bill: I also ask that they not obscure half of the screen with an out of focus drinking glass, but that’s just me.

Fisty: Boor. Swine. Uncultured lout.

Bill: Snob. Are we finished here? Did we get back to how this is a giallo? Because there are a lot of arguments about that.

Fisty: Oh yeah. You’re right, I’ve seen these arguments come up for well, almost every non-classico giallo, it sometimes seems. We’ve touched on it previously with Forbidden Photos of a Lady Above Suspicion, Luciano Ercoli’s 1970 giallo la femme (that’s not really a thing), and again with Massimo Dallamano’s 1972 schoolgirl giallo What Have You Done to Solange? Along different lines, Luigi Cozzi’s 1973 genre-bender The Killer Must Kill Again labors under the same accusation for different reasons. Shoots, even a prime example of the classico giallo like Sergio Martino’s All the Colors of the Dark has had such aspersions cast at it–seriously!–which just goes to show, not only are some people plumb crazy, but the definition of giallo is as nebulous, and ambiguous as the films themselves.

A generic definition that can (debatably) encompass such outliers as Argento’s Suspiria and Phenomena or Fulci’s The New York Ripper can certainly include films of a less fantastical or gruesome nature. But it’s not even about what we can stretch the definition to include, but what films make up an integral core of the filone. In that the Sixties gialli–lenziani or no–tend to be along the lines of the sexy inheritance thriller, referencing noir and Hitchcock and Clouzot, Lenzi’s thrillers absolutely typify this approach. While he did not necessarily innovate–Bill’s BFF Romolo Guerreri busted The Sweet Body of Deborah out in 1968, not to mention Bava’s previous contributions–Lenzi absolutely refined and realized the generic potential of these thrillers when he dominated the filone.

This type would flourish mainly in the Sixties, and the beginning of the Seventies, but would continue to affect the filone even after Bird’s excesses. Later gialli that place the emphasis on suspense as opposed to mystery, the inheritance thriller-type giallo, the gaslight giallo, the intimate giallo based on internal concerns–adultery, incest, etc–instead of the eyewitness, these are all related to the sexy thriller lenziani and its success. I dare say that virtually all of Sergio Martino’s classic gialli bear the imprint of the sexy thriller lenziani, and traces are found throughout many post-Argento films such as Forque’s In the Eye of the Hurricane or Picciolo’s The Flower with Petals of Steel.

Bill: I really did love The Sweet Body of Deborah. And going back to the cast “inhabit[ing] their roles,” you didn’t mention her, but Marina Coffa as Susan is just perfect. She embodies Susan so well that the second she’s on screen, before she’s even had a chance to act, I knew she was trouble. I’ve never seen her in anything else and I kind of wish she’d done more. Now, about the debt Martino owes Lenzi… Yeah. I can’t deny that. And I love Martino. Everything you’ve said about Lenzi and about this movie is true. I’ve been kind of critical of it and it isn’t my favorite lenziani, or even my favorite of the So Sweet… So Perverse/Orgasmo/Paranoia trilogy–I liked Orgasmo better–but I want to reiterate: I LIKE THIS MOVIE. My criticisms are minor, mostly adding up to, “I think this other movie is better,” and, “Blurry cups!” But just because I don’t consider it perfect, doesn’t mean I didn’t enjoy it. It would definitely surprise anyone that only knows Lenzi from his later films. But maybe it shouldn’t. He adapted to smaller budgets and changing audience desires and his later movies, while maybe not showing quite the technical proficiency he does here, are still precisely what he meant them to be and perfectly typify the times in which he made them. I can’t ever remember being bored while watching a Lenzi movie. Bottom line: He’s better than he gets credit for being.



Don’t worry about me, you’re the one sitting in the death seat. Ultimately, A Quiet Place to Kill is a fine film, a perfectly typical sexy thriller lenziani. With fine characterizations perfectly played by its cast, exotic and glamorous locales, a jazzy score, and a delightfully intricate yet tight storyline. While not as bloodily thrilling as later, post-Argento gialli, AQP2K–and others of its type–create a sensual atmosphere brimming with lasciviousness and intrigue. They are dependent upon not only the looks and attitudes of their characters, but also the psychology; instead of witnessing violent tableaux, we explore the ambiguous relations between the characters. The success of the sexy thrillers lenziani lies in the deliciously trashy spectacle of pretty people doing ugly things to one another in glamorous places.