|Cold Eyes of Fear (1971)|
|Director:||Enzo G. Castellari|
|Writers:||Leo Anchóriz, Tito Carpi and Enzo G. Castellari|
|Starring:||Gianni Garko, Giovanna Railli, Frank Wolff and Fernando Rey|
|The Plot: Peter Flower (Gianni Garko) is a young lawyer having a fun night out on the town. He meets up with the sultry Anna (Giovanna Ralli) who agrees to accompany him to bed, but first he must procure somewhere nice and quiet before so that they can enjoy their rendezvous. He decides that his uncle’s place, Judge Juez Flower (Fernando Rey), would be perfect, so he calls up the Judge’s butler and convinces him to leave for a couple of hours. Unknown to Peter, the butler is murdered almost immediately after their phone conversation ends. His murderer is a young dark haired man named Quill (Julián Mateos) who has hidden intentions. When Peter and Anna show up at the house, they eventually find the butler… as well as Quill. Now they must discover both what Quill is hiding from them as well as what Peter’s own uncle might be hiding as well.|
The film is actually far more clever than your average run-of-the-mill piece of 70s exploitation. These games that it plays with the audience are very well handled, and surprisingly they do not come across as being cheap. The “giallo” illusion during the introduction is shattered, but then Castellari once again initiates his audience and their expectations by creating another perfect mechanism for a murder-mystery to take place. He introduces Gianni Garko’s character who quickly converses with his butler over the phone, but we watch as the butler is then killed by a shapeless assassin. All signs point to murder-mystery! That is until Castellari defies expectations yet again by actually showing us who the killer is, and it is at this point that the film seems to try and squeeze into the “home invasion” genre. Castellari continues to fool us though, because this isn’t simply a film about a mad-man holding innocent people hostage. This is also about, believe it or not, a heist. Layer after layer is built upon within the first thirty minutes and the further the movie diverges from the well-traveled paths the better it seems to get.