KNIFE OF ICE

Carroll Baker

KNIFE OF ICE (aka Il coltello di ghiaccio/1972). Director: Umberto Lenzi. 

Martha (Carroll Baker) has been mute since her parents were killed in a train disaster and they threw her out a window to safety. Now she lives with her Uncle Ralph (Jorge Riguad) and her cousin, Jenny (Ida Galli of The Case of the Scorpion's Tail), as well as the sinister driver Marcos (Eduardo Fajardo of The Murder Mansion), housekeeper Mrs. Britton (Silvia Monelli), and the British maid Rosalie (Olga Gherardi). When Jenny is found dead in the garage, it develops that there was already another blond victim of an unknown killer. Now the police fear that Martha will be the next to be targeted. The main suspect is a devil worshipper named Randy Mason (Mario Pardo), but there are others: the mayor, Father Martin (Jose Marco), and the smooth and attractive Dr. Laurent (Alan Scott), who has been treating both Martha and her uncle. 

Baker with Alan Scott

This is the final collaboration between star Baker and director Lenzi, and it's arguably the least interesting. Although it does work up a bit of suspense towards the very end, the pacing is generally too slow and the characters are not that interesting. Jean Sorel is sorely missed as well, as Martha is given no real love interest. The twist ending to this doesn't quite convince, but the film is well-acted by all. Alan Scott was an American actor who did most of his films in Europe. 

Verdict: Disappointing Baker-Lenzi mystery flick. **1/2. 

PARANOIA

Carroll Baker and Lou Castel

PARANOIA (aka Orgasmo/1969). Director: Umberto Lenzi. 

Kathryn (Carroll Baker), recently widowed, moves into her wealthy late husband's fabulous estate in Italy. Her only companion is the dyspeptic housekeeper, Teresa (Lilla Brignone), with occasional visits from family lawyer Brian (Tino Carraro), who wants to marry her. Into her life pops hunky Peter (Lou Castel), a comparatively penniless young man who moves in on Kathryn and eventually into her home. Then who should show up but his free-spirited sister, Eva (Colette Descombes), who seems to have a hankering for Kathryn. But is Eva really Peter's sister, or something more? It isn't long before Kathryn begins to regret ever meeting the couple. 

Baker, Castel, Descombes

Paranoia is an entertaining and well-acted suspense-thriller that presents some truly despicable villains even if their victim isn't entirely sympathetic. There's another twist at the end and a satisfying denouement. This is one of several films that Baker did for director Umberto Lenzi. (This is not to be confused with another Baker/Lenzi collaboration entitled Paranoia or A Quiet Place to Kill.) Lou Castel was a Columbian actor who appeared in a number of Italian/International productions. Like most of the other films Baker did with Lenzi, lesbianism or bisexuality figures in the plot. Most of the others remind one of Diabolique, but not Paranoia.

Verdict: Absorbing story with intriguing plot and some very good players. ***. 

PARANOIA/A QUIET PLACE TO KILL

Carroll Baker and Jean Sorel

PARANOIA/A QUIET PLACE TO KILL (1970). Director: Umberto Lenzi. 

After an accident, Helen (Carroll Baker), a race car driver, is invited by (whom she thinks is) her ex-husband, Maurice (Jean Sorel), to his estate, where he now lives with his wealthy wife, Constance (Anna Proclemer). Helen discovers that Constance actually issued the invitation, and there are early hints -- later discarded -- that she has a yen for her. Maurice is an unapologetic gigolo who left Helen when her money ran out. Constance has good reason to hate Maurice -- one revelation is kept towards the end of the film -- and offers Helen $10,000 if she'll help her kill him. But as usual in these kind of movies, things don't go as expected. 

Proclemer with Sorel

Carroll Baker gives a very good performance in this, one of several thrillers she did for director Umberto Lenzi. Sorel, who may or may not be dubbed, is comparatively listless, however. Proclemer makes a better impression, as does Marina Coffa as Constance's nubile daughter, Susan. Another film inspired a bit by Diabolique -- wife and ex-wife as opposed to wife and mistress -- the lack of originality, despite some minor twists, keeps this from being memorable. The theme song, "You," is horrible and horribly sung! A nominal giallo film essentially devoid of grisly murders. 

Verdict: The picture pulls one along but there's no pay-off. **.  

SO SWEET ... SO PERVERSE

Jean-Louis Trintignant and Carroll Baker

SO SWEET ... SO PERVERSE (aka  Cosi dolce ,,, cosi perversa//1969). Director: Umberto Lenzi. 

Jean Reynard (Jean-Louis Trintignant) lives with his wife, Danielle (Erika Blanc), in a Paris apartment. Danielle has stopped sleeping with Jean, which necessitates his having affairs. Jean becomes intrigued with the woman, Nicole (Carroll Baker of The Fourth Victim), who has moved into the apartment upstairs, and learns that she is being dominated by a lover named Klaus (Horst Frank). It isn't long before one of these people is murdered, while the other three accuse the others of pretending this victim is still alive -- which may even be true ...

Jean-Louis Trintignant and Erika Blanc

So Sweet ... So Perverse is essentially a retread of Diabolique, with its own twists, including that one of the female characters has come to realize she is a lesbian. The actors use their real voices, but the over-dubbing makes their performances, especially Baker's, seem a little off. Erika Blanc decidedly gives the most impressive performance. An unintentionally hilarious moment occurs when the police insist on one character making an ID in the morgue, although the corpse has been described as "completely unrecognizable!" This is one of four movies that Carroll Baker did for director Umberto Lenzi: Knife of Ice; Paranoia, which was originally called Orgasmo; and A Quiet Place to Kill, which was originally called Paranoia! Go figure!

Verdict: Minor but absorbing suspense film -- and nominal giallo -- with some new twists on an old idea. **1/2.