The world of the Italian horror/thriller has seen many a memorable artist/muse collaboration over the years. One that springs to mind immediately would be the now legendary pairing of Lucio Fulci and Catriona MacColl with the trilogy of City of the Living Dead (1980), The Beyond (1981) and The House By the Cemetery (1981). Another obvious one being Dario Argento and Daria Nicolodi with Argento giving Nicolodi, his wife for a time, numerous roles in films like Deep Red (1975), Inferno (1980), Tenebre (1982), Phenomena (1985) and Opera (1987). Then of course there’s the king and queen of the giallo, Sergio Martino and Edwige Fenech who defined the subgenre with The Strange Vice of Mrs. Wardh (1971), All the Colors of the Dark (1972) and Your Vice is a Locked Room and Only I Have the Key (1972). One of the more fruitful director/performer tag-teams to come from the golden age of Italian genre cinema would be Umberto Lenzi and former Hollywood blonde bombshell Carroll Baker, who from 1969 to 1972 made four films together after Baker relocated to Italy following legal troubles and a divorce, Paranoia, So Sweet… So Perverse (1969), A Quiet Place to Kill (1970) and Knife of Ice (1972), with the first of these collaborations, Paranoia, being the best along with being one of the best Italian thrillers to come from this period and one of Lenzi’s finest films.
Kathryn West (Baker), a wealthy jet set widow retires to her estate in Italy following the death of her husband. One afternoon, Kathryn hears a car horn outside the gates and meets Peter Donovan, a young local who’s car has broken down and needs to use the phone. Peter returns later that night and Kathryn aggress to let him stay and the two begin a passionate affair with Peter eventually moving in. Not long after, Kathryn is introduced to Peter’s sister Eva whom Kathryn takes an immediate liking too and she too moves in. At first Kathryn feels reinvigorated, letting go of all her worries and having fun until she returns home one night to find Peter and Eva in bed together. Soon Peter and Eva’s sinister intentions behind befriending Kathryn dawn on her as she finds herself becoming a plaything for the two incestuous sadists amusement.
Featuring dialogue like “One has to be afraid of everything these days, especially when one’s happy” and “When I think of myself I want to vomit. But I’m happy because I realize it”, Lenzi makes no attempt to hide his nihilism throughout the course of Paranoia. Even by Lenzi standards Paranoia is a pessimistic gem, shining a light, albeit a highly eroticized and pulpy one, on some of the rotten things human beings are capable of doing to each other. As a thriller, the film works for all the obvious reasons although what’s interesting is that there really isn’t a sense of mystery to the film setting aside Peter and Eva’s end goals. Virtually every advertisement for the film made it glaringly obvious that Peter and Eva aren’t what they seem and in any other film a similar storyline probably wouldn’t have much momentum however in the case of Paranoia its what gives the film its wheels. This is mainly thanks to the wonderful performance of Carroll Baker who is sympathetic from the start of the film and only gets more so as the film becomes more mean spirited. Baker perfectly captured the devolution of Kathryn’s psychical and more importantly, mental state which Lenzi also perfectly translated visually by deliriously liberal use of the zoom lens. What also makes the film interesting is that underneath the main plot is a none too subtle element of class warfare and generational gaps which Lenzi would explore again in the similarly themed Oasis of Fear (1971).
Paranoia is one of several Lenzi films that has a tendency to confuse some newcomers to the world of European cult cinema based on its title. The film was originally released in Italy as Orgasmo (Orgasm), however once it entered overseas markets the films title was later changed to Paranoia. One year later following this film and So Sweet… So Perverse, Lenzi and Baker teamed up again for what was originally released in Italy as Paranoia later became A Quiet Place to Kill. This particular re-titling can lead to some confusion of its own as the aforementioned Oasis of Fear is also known as An Ideal Place to Kill! Lenzi would encounter the re-title again and sometimes ironically as when his TV movie The House of Witchcraft (1989), part of the House of Doom project Lenzi did along with Lucio Fulci was released in Germany as Ghosthouse 4, despite having absolutely nothing to do Lenzi’s original Ghosthouse (1988). Then there was Lenzi’s underrated voodoo/zombie mash-up Black Demons (1991) which was renamed Dèmoni 3 and marketed as the third film in Lamberto Bava’s Demons series. Regardless of its title, what’s certain is that Paranoia or Orgasmo is a special film from an unusual yet surprisingly simpatico director/actress collaboration. Sexy, stylish, more than a bit misanthropic and featuring what has to be one of Carroll Baker's finest performances, Paranoia is unquestionably an essential Lenzi title.