Gli Occhi freddi della paura (Cold Eyes of Fear) (1971) 720p YIFY Movie

Gli Occhi freddi della paura (Cold Eyes of Fear) (1971)

Respectable lawyer Peter picks up Anna, an Italian woman of dubious virtue, from the club and takes her back to his Uncle's place. They soon discover they are not alone. A gunman Quill (Julian Mateos), is waiting for them.

IMDB: 5.30 Likes

  • Genre: Thriller |
  • Quality: 720p
  • Size: 1.10G
  • Resolution: 1280x678 / 23.976 (23976/1000) FPSfps
  • Language: English  
  • Run Time: 88
  • IMDB Rating: 5.3/10 
  • MPR: Unrated
  • Peers/Seeds: 0 / 0

The Synopsis for Gli Occhi freddi della paura (Cold Eyes of Fear) (1971) 720p

Respectable lawyer Peter picks up Anna, an Italian woman of dubious virtue, from the club and takes her back to his Uncle's place. They soon discover they are not alone. A gunman Quill (Julian Mateos), is waiting for them.


The Director and Players for Gli Occhi freddi della paura (Cold Eyes of Fear) (1971) 720p

[Director]Enzo G. Castellari
[Role:]Fernando Rey
[Role:]Giovanna Ralli
[Role:]Frank Wolff


The Reviews for Gli Occhi freddi della paura (Cold Eyes of Fear) (1971) 720p


A Sufficient GialloReviewed byhae13400Vote: 8/10

An Eton-graduated lawyer, Peter Flower, meets an Italian prostitute, Anna, in a London nightclub, and goes to his uncle's house with her. But soon the house's butler, Hawking, is found dead, and a stranger named Quill shows himself with gun. And furthermore, the arrival of Arthur Welt sharpens the unstableness of the strange triangle of two men and one woman... I think this Italian-Spanish co-produced film, which is sometimes called cult one because of its eccentric visualisation of one character's confusion of fancy with reality, is not bad at all. It has no extraordinariness of the characters, but the each character he-or-her-self is the believable who wants to be concerned only with what he or she can assimilate to. And the story is not full of highly cinematic surprises but has something realistic and familiar, and it lacks the manifest combination of love and separateness but has of (in)security and class consciousness, and of learning and sexual warfare. Still one can point out the film has some over-stylised Italian cinema-graphical techniques and somehow stereotyped female character, Anna. Regarding the latter, one can think of various possibilities of the characteristic. For instance, it can be said Anna should not be a prostitute. If she is the lover or, in better setting, one of the lovers of Peter, then her influence upon him and/or his upon her can be much more complex and profound, and so forth. But the ongoing story of the film has cinematically advance hints, and even offhanded meeting of Anna and Peter, who are first and last strangers each other, has something latently important and therefore their otherness has its own meaning. The director/co-writer E.G.Castellari could do more than what really did, but what he did was, I think, cinematically sufficient.

Reviewed byRed-BarracudaVote: 4/10/10

This is one of the weakest Italian thrillers I've seen. It's agiallo/house-invasion hybrid but it doesn't really succeed in eithergenre. The film begins like a typical giallo with an opening creditsequence following a car through the streets of London to a Morriconesoundtrack; this is followed by a textbook giallo stalk scene which,somewhat bizarrely, turns out to be a stage show. Up to this point themovie is perfectly serviceable but really, this is as good as it gets.The majority of the remainder of the film is about a lawyer and aprostitute who are held captive by a couple of bad guys. And, to beperfectly honest, they don't get up to anything very interesting.

Unlike other weak giallos, like Slaughter Hotel for example, this movieneither delivers much sleaze or is photographed particularlyattractively. And the score, while being a stronger aspect of the film,is basically Morricone-by-numbers. However, there is some fun to be hadwith the ridiculous dubbing, which makes the actors appear that theycannot act for toffee; and the guy called Quill has a very very sillyaccent. No one in the U.K. talks like this trust me.

Overall, I'm not sure who I can recommend this to. Fans of giallos willfind it too unsuspenseful and uninvolving and those who like houseinvasion movies will not find it anywhere sleazy enough. At best itoffers a few laughs and some semi-inventive scenes. But really, it'snot very good.

Cold Eyes...Wide Shut!Reviewed byCoventryVote: 3/10

Dull and truly disappointing early 70's Italian film that can never seem to decide whether it wants to be a typical giallo or an ordinary crime thriller. The opening is very promising, showing a girl assaulted by a man with a knife whose face we do not see, but that quickly turns out to be a totally unrelated theater performance and that REALLY upset me! The actual story of "Cold Eyes of Fear" revolves on the pampered nephew of an eminent judge who is, together with a random prostitute he picked up earlier, held hostage by two criminals in his uncle's giant villa. One of the crooks is out for vengeance against the corrupt judge and the other merely hopes to find money in the house. What follows is a totally uninteresting and overly talkative showdown between the two parties without not even the slightest bit of action or excitement. There's some very stylish and creative giallo-camera-work to admire, but the sub genre's most appealing characteristics (nudity, graphic violence, absurd plot-twists?) are regretfully neglected. Everybody else around here seems to love the jazzy music but I personally found it very annoying and it totally doesn't fit the tone of the film. It's definitely one of Ennio Morricone's worst scores ever. During the pretentious yet hilarious opening sequences, London is portrayed like a swinging city, in the trend of Las Vegas, with colorful billboards, casinos and wild nightclubs. What the hell was that all about? Enzo G. Castellari's directing is rather uninspired and he's no competition for other contemporary Italian filmmakers like Dario Argento, Mario Bava or Sergio Martino. He did return in the 80's with one of my favorite "Jaws" rip-offs, namely "The Last Shark".

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