IMDb > Cold Eyes of Fear (1971)

Cold Eyes of Fear (1971) More at IMDbPro »Gli occhi freddi della paura (original title)

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Down 11% in popularity this week. See why on IMDbPro.
Leo Anchóriz (screenplay)
Tito Carpi (screenplay)
View company contact information for Cold Eyes of Fear on IMDbPro.
Release Date:
6 April 1971 (Italy) See more »
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. | Add synopsis »
The Simpsons: 10 Most Desperate Moments
 (From Obsessed with Film. 17 October 2014, 4:46 AM, PDT)

User Reviews:
A Sufficient Giallo See more (19 total) »


  (in credits order) (verified as complete)

Giovanna Ralli ... Anna
Frank Wolff ... Arthur Welt

Fernando Rey ... Juez Flower
Julián Mateos ... Quill
Karin Schubert ... Nightclub Actress (as Karyn Schubert)
Leonardo Scavino ... Hawkins the butler (as Leon Lenoir)
Franco Marletta

Gianni Garko ... Peter Flower

Directed by
Enzo G. Castellari 
Writing credits
(in alphabetical order)
Leo Anchóriz  screenplay
Leo Anchóriz  story (uncredited)
Tito Carpi  screenplay
Tito Carpi  story
Enzo G. Castellari  screenplay
Enzo G. Castellari  story

Produced by
José Frade .... producer
Original Music by
Ennio Morricone 
Cinematography by
Antonio L. Ballesteros (lighting)
Film Editing by
Vincenzo Tomassi 
Production Design by
Román Calatayud 
Art Direction by
Román Calatayud  (as Roman Calatayud Alegre)
Costume Design by
Enrico Sabbatini 
Makeup Department
Giancarlo De Leonardis .... hair stylist
Otello Sisi .... makeup artist
Production Management
Pietro Grifi .... production manager
Vittorio Noia .... production director
Second Unit Director or Assistant Director
Luis Ligero Poza .... assistant director
Sound Department
Gene Luotto .... post-synchronization
Carlo Palmieri .... sound engineer
Camera and Electrical Department
Giulio Battiferri .... assistant camera
Giuliano Grasselli .... assistant camera
Pasquale Rachini .... camera operator
Giorgio Urbinelli .... assistant camera
Costume and Wardrobe Department
Maria Meconi .... wardrobe
Editorial Department
Gianfranco Amicucci .... assistant editor
D.C. Cardinali .... colorist: remastered hd version (new version)
Music Department
Bruno Nicolai .... musical director
Other crew
Gene Luotto .... dialogue director
Maria Luisa Merci .... continuity
Isabel Mulá .... script supervisor (uncredited)
Julio Parra .... production supervisor (uncredited)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Gli occhi freddi della paura" - Italy (original title)
"Desperate Moments" - USA (TV title)
See more »
Spain:81 min | USA:91 min | Italy:95 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
References Wait Until Dark (1967)See more »


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3 out of 4 people found the following review useful.
A Sufficient Giallo, 18 April 2003
Author: taihei yasui (hae13400) from tokyo, japan

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.

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