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A Quiet Place to Kill (1970)

Paranoia (original title)
| Drama, Thriller | 1973 (USA)
A race-car driver whose life, both personal and professional, is in a rapid downfall is invited by her ex-husband's new wife to stay at their plush estate. The two women form a bond, and ... See full summary »



(screenplay), (story) | 4 more credits »


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Cast overview, first billed only:
Albert Duchamps
Dr. Harry Webb
Marina Coffa ...
Susan Sauvage
Anna Proclemer ...
Constance Sauvage
Lisa Halvorsen ...
Solange (as Liz Halvorsen)
Manuel Díaz Velasco ...
Jacques Stany ...
Rossana Rovere ...
Calisto Calisti ...
Alfonso de la Vega ...
Miguel Beltrán
Gaspar Forteza ...
1st Cop


A race-car driver whose life, both personal and professional, is in a rapid downfall is invited by her ex-husband's new wife to stay at their plush estate. The two women form a bond, and it's not long before their mutual dislike for the husband culminates into a plan to kill him. As it turns out, though, they're not alone in plotting murder. Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis


Drama | Thriller




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Release Date:

1973 (USA)  »

Also Known As:

A Quiet Place to Kill  »

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Aspect Ratio:

2.35 : 1
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Did You Know?


Final part of a trilogy also including Paranoia (1969) and Così dolce... così perversa (1969). See more »


Referenced in Death Proof (2007) See more »


Just Tell Me
Written by Douglas Fowlkes and Piero Umiliani
Performed by Wesley Johnson (as Wess & the Airedales)
See more »

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User Reviews

A QUIET PLACE TO KILL (Umberto Lenzi, 1970) **
31 August 2008 | by See all my reviews

To begin with, when I acquired this, I was under the impression it'd be the 1969 Lenzi/Carroll Baker giallo released in English-speaking countries as PARANOIA and originally given the lurid title ORGASMO; I watched that film, which was quite decent (and had a jaw-dropping final twist, to boot), during the 2004 Venice Film Festival – with the genial elderly director in attendance!

This one, then, was released in Italy as PARANOIA and, to confuse matters even more, its English title was very similar to the director's follow-up effort (and which I'll get to presently), UN POSTO IDEALE PER UCCIDERE – translating to AN IDEAL PLACE TO KILL – which was itself retitled OASIS OF FEAR for export purposes! For the record, Lenzi made eight giallos in all: none would perhaps rank among the genre's finest offerings – though, with this, I'm only half-way through them (having checked out KNIFE OF ICE [1972] and SPASMO [1974] as well, the latter also at Venice as part of a night-long marathon!). Anyway, the film turned out to be something of a disappointment: the plot recalls Henri Georges Clouzot's classic DIABOLIQUE (1955) but, given rather indifferent treatment, it's not particularly engaging in this case. Incidentally, both stars – Carroll Baker again and Jean Sorel – would appear in a number of giallos over the years: the two, in fact, had already made THE SWEET BODY OF DEBORAH (1968) together and, while the former would make four for Lenzi alone, the latter appeared (among others) in two of Lucio Fulci's best films…one of which, ONE ON TOP OF THE OTHER aka PERVERSION STORY (1969), was also partly inspired by the aforementioned Clouzot thriller! Perhaps the most determining factors in PARANOIA's lack of stature are its positively underwhelming credentials (the film is an Italian/French/Spanish co-production); that said, the glossy look – particularly in the beautiful widescreen print I viewed – and Gregorio Garcia Segura's bouncy lounge score easily emerge as its most pleasing (and durable) assets.

After a fairly dreary first half, the narrative gets pretty complicated, though the many plot twists aren't exactly surprising: one I liked, however, was when the scheme of playboy Sorel's two wives to get rid of him backfires, he's quick to take matters into his own hands and dispose of the current spouse (which would leave him tremendously wealthy) there and then! Even so, a third woman enters the picture soon after – the daughter of the deceased (gorgeous if perennially sullen Marina Coffa) who, then, conspires with him to oust his ex (Baker) by elaborately framing her for Sorel's 'murder'! The frenzied climax, in fact, sees the distraught heroine's car plunging from a cliff (she's being chased by the police when Sorel's phantom suddenly 'haunts' her) – but Baker has the last laugh after all as, in the search to find his 'missing' body, the corpse of Sorel's second bride literally turns up to incriminate him! Mind you, the film's still quite watchable – as much for the reasons already stated as for Baker's frequent nude scenes…

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