An interesting and entertaining film from director Richard Fleischer, though one that perhaps lacks the obvious bite of his more famous projects, The Boston Strangler (1968) and 10 Rillington Place (1971). Regardless, the natural tension that is suggested by the clever premise - and some fine directorial touches - make this a particular standout from some of the other, more generic crime/thriller/horror films being produced during the same era; a time when the emphasis seemed to be placed on the juxtaposition between mainstream storytelling conventions and exploitation flair. Nonetheless, the film has obvious similarities to works like Wait Until Dark (1967) and The Cold Eyes of Fear (1971), as well as pointing towards later films like Manhunter (1986), Jennifer 8 (1992), Blink (1994) and The Eye (2000); all of which express that always compelling idea of using a character with a recognisable disability that is then exploited in order to create a heightened sense of tension that is further intensified by having the character literally unable to interact with the objects that surround her.
Again, this can be seen as a well-worn convention of the thriller genre itself, tapping into the very cinematic idea of sight and perception while still managing to create a natural understanding between the character and the audience. The film works exceedingly well because of this innate sense of empathy created by the central character of Sarah, a young woman left blind after a horse riding accident and now recuperating with family in their large country house. The fact that Sarah is oblivious to her surroundings - and the notion that even somewhere as familiar as her own home becomes a dangerous maze of potential death spots - helps to give the film a heightened tension, as we observe and react to these various problems and pitfalls that the character is completely unaware of. It also works as a result of the compelling central performance from the young Mia Farrow, here in her mid-twenties and managing to convey both the strength and naivety of this character as she not only tries to adjust to the loss of her sight, but to the escalating horror that envelopes her. Farrow is well supported by a variety of notable British character actors no doubt familiar from sitcoms and soap operas, including a young Norman Eshley, Paul Nicholas and Michael Elphick; however, it is Farrow's performance as Sarah that really dominates the film, more so than anything else.
Unlike many of the director's more notable films, including the two films aforementioned, Blind Terror, aka See No Evil (1971) forgoes the more recognisable aspects of Fleischer's preferred style for this kind of genre; dropping the more progressive "docudrama" type elements and producing a film that (again) seems pitched halfway between a big-budget mainstream thriller and a lurid piece of pure exploitation. Nonetheless, the style works incredibly well, with the sly, Saturday Night Fever (1977) foreshadowing title sequence and that great opening theme music introducing us to the killer in way that is bold, brash and yet completely enigmatic; as we watch a pair of brown leather cowboy boots adorned with white, western-style stars, strut down the nocturnal high-street amidst a series of ironic signifiers to the violence yet to come. The design of this opening sequence works well, introducing the restless energy and isolation of the (as yet unseen) murderer, as well as the film's particular style of big-budget trash. The sequence also works towards establishing the narrative momentum of the film, leading us to a literal crossroad within the drama where the lives of these two characters (heroine and antagonist) eventually meet.
The resulting film is also notable for its use of sound and pacing, with Fleischer allowing the film to play out slowly, letting the scenes drag on as the clues eventual pile up. This allows the audience to come to grips with the horror that is increasing, while the character remains oblivious; eventually leading to a anxious, pressure-cooker like atmosphere, as Sarah herself edges closer and closer to the grisly realisation that we, as an audience, are already fully aware of. Admittedly, there are a couple of minor plot holes and inconsistencies that perhaps flaw the proceedings on a trivial level, while many contemporary viewers may be put off by the continual reliance on pacing, atmosphere and character interaction (here replacing the more familiar crash-cuts and gore). Nonetheless, Blind Terror is really a fine little thriller that unfolds in the minor-key; managing to tell a compelling story from the perspective of a likable and interesting central character brilliantly performed by Farrow and incredibly directed by the always inventive (and somewhat undervalued) Fleischer.
Again, this can be seen as a well-worn convention of the thriller genre itself, tapping into the very cinematic idea of sight and perception while still managing to create a natural understanding between the character and the audience. The film works exceedingly well because of this innate sense of empathy created by the central character of Sarah, a young woman left blind after a horse riding accident and now recuperating with family in their large country house. The fact that Sarah is oblivious to her surroundings - and the notion that even somewhere as familiar as her own home becomes a dangerous maze of potential death spots - helps to give the film a heightened tension, as we observe and react to these various problems and pitfalls that the character is completely unaware of. It also works as a result of the compelling central performance from the young Mia Farrow, here in her mid-twenties and managing to convey both the strength and naivety of this character as she not only tries to adjust to the loss of her sight, but to the escalating horror that envelopes her. Farrow is well supported by a variety of notable British character actors no doubt familiar from sitcoms and soap operas, including a young Norman Eshley, Paul Nicholas and Michael Elphick; however, it is Farrow's performance as Sarah that really dominates the film, more so than anything else.
Unlike many of the director's more notable films, including the two films aforementioned, Blind Terror, aka See No Evil (1971) forgoes the more recognisable aspects of Fleischer's preferred style for this kind of genre; dropping the more progressive "docudrama" type elements and producing a film that (again) seems pitched halfway between a big-budget mainstream thriller and a lurid piece of pure exploitation. Nonetheless, the style works incredibly well, with the sly, Saturday Night Fever (1977) foreshadowing title sequence and that great opening theme music introducing us to the killer in way that is bold, brash and yet completely enigmatic; as we watch a pair of brown leather cowboy boots adorned with white, western-style stars, strut down the nocturnal high-street amidst a series of ironic signifiers to the violence yet to come. The design of this opening sequence works well, introducing the restless energy and isolation of the (as yet unseen) murderer, as well as the film's particular style of big-budget trash. The sequence also works towards establishing the narrative momentum of the film, leading us to a literal crossroad within the drama where the lives of these two characters (heroine and antagonist) eventually meet.
The resulting film is also notable for its use of sound and pacing, with Fleischer allowing the film to play out slowly, letting the scenes drag on as the clues eventual pile up. This allows the audience to come to grips with the horror that is increasing, while the character remains oblivious; eventually leading to a anxious, pressure-cooker like atmosphere, as Sarah herself edges closer and closer to the grisly realisation that we, as an audience, are already fully aware of. Admittedly, there are a couple of minor plot holes and inconsistencies that perhaps flaw the proceedings on a trivial level, while many contemporary viewers may be put off by the continual reliance on pacing, atmosphere and character interaction (here replacing the more familiar crash-cuts and gore). Nonetheless, Blind Terror is really a fine little thriller that unfolds in the minor-key; managing to tell a compelling story from the perspective of a likable and interesting central character brilliantly performed by Farrow and incredibly directed by the always inventive (and somewhat undervalued) Fleischer.