Blind Terror (1971)

Director:

Richard Fleischer

Writer:

Brian Clemens (writer)

Release Date:

2 September 1971 (USA)

Genre:

Thriller | Crime | Drama | Horror

Tagline:

Keep your eyes on what she cannot see- the boots, the bracelet, the bodies...

Plot:

Sarah is a blind girl who has returned to her home, a country manor in which all of the occupants are dead...

Plot Keywords:

Blind | Stranger | Throat Slashing | Handicap | Trapped

Awards:

1 nomination

Cast

  (Complete credited cast)

Mia Farrow	...	Sarah
Dorothy Alison	...	Betty Rexton
Robin Bailey	...	George Rexton
Diane Grayson	...	Sandy Rexton
Brian Rawlinson	...	Barker
Norman Eshley	...	Steve Reding
Paul Nicholas	...	Jacko
Christopher Matthews	...	Frost
Max Faulkner	...	Steve's Man #1
Scott Fredericks	...	Steve's Man #2
Reg Harding	...	Steve's Man #3
Lila Kaye	...	Gypsy Mother
Barrie Houghton	...	Gypsy Jack
Michael Elphick	...	Gypsy Tom
Donald Bisset	...	Doctor

Also Known As:

See No Evil (USA)

Runtime:

Netherlands:85 min | USA:89 min

Country:

UK

Language:

English

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Germany:16 | Australia:M | Finland:K-16 | Norway:15 | Norway:16 (1972) | Sweden:15 | UK:X | USA:GP (original rating) | USA:PG | Iceland:16

Filming Locations:

Berkshire, England, UK

Company:

Columbia Pictures Corporation

Trivia:

Bodycount: 4.

Movie Connections:

Referenced in Sugar Cookies (1973)

I still can't make up my mind about this film

There's been quite a few rainy afternoons when I've dusted down my copy of Blind Terror and settled down to watch it again, and every time I'm left with the same feeling: something isn't quite right about this movie, despite obvious skill in places.

Brian Clemens is hardly an intellectual writer, but as a writer of simple television thrillers he's a legend. And like many of the best TV writers, his success as a screenwriter is varied. Both Blind Terror and And Soon The Darkness point the way forward to Clemens' THRILLER TV series of the Seventies, which effectively exploited the "girl in peril" situation. What makes these two movies different is their rather unpleasant, slightly depressing feel. "Darkness" is very slow and rather uneasy in its voyeurism, whilst Terror is a little too nasty to be a wholly enjoyable thriller.

Perhaps the most telling and interesting sequence is actually the opening credits, with Bernstein's enjoyable but somehow inappropriate music accompanying the faceless killer leaving a cinema that is showing "The Convent Murders" and "Rapist Cult", an only slightly exaggerated take on early Seventies exploitation movies in Britain. He then walks along a street where every shop seems to be selling violence: a TV shop has a set displaying a murder taking place, a toy shop sells toy guns and a newsagent displays grim headlines.

From there the movie is rather predictable, and unfolds at a slow pace (nothing really happens until about 50 minutes in) but is somehow pretty watchable all the same. Along the way there are some fascinating glimpses of Seventies Britain to be enjoyed. But from the inexplicable massacre at the house onwards things feel a little sluggish and the killer is so one-dimensional we do not have much interest in his actions. And why does he try and find the bracelet again at the end, as if Sarah would still have it! The ending is terribly abrupt and nothing is explained.

Fleisher's direction though is careful and he uses a fantastic trick of keeping the camera close on Farrow during her long escape sequence so that we cannot see where she is heading either.

There are also a couple of good moments of surprise but the movie is lacking a real scare and the overwhelming impression is one of gloom.