Well made horror/suspense movie from the early 70's about a woman (Farrow), blinded in a horse-riding accident, who goes to live with her Uncle in a house in the English countryside. While she is out with her old boyfriend, something is happening to her Uncle and the rest of her family back in the house. But on returning, how can she know when she cannot see?

Good suspense - sometimes the viewer is a step ahead of the blind woman, other times we are as blind as she is, a great score and good acting by all makes this a wonderful movie for a rainy afternoon. Interesting to see Michael Elphick and a young Paul Nicholas along for the ride too.

Beautifully photographed and directed.

5 out of 5.

In the countryside of England, Sarah (Mia Farrow) returns to Manor Farm to live with her uncle George Rexton (Robin Bailey), her aunt Sandy Rexton (Diane Grayson) and her cousin Betty Rexton (Dorothy Alison) after an accident with her horse where she was blind. Sarah knows the interior of the house by heart so she can independently move by herself. When her former boyfriend Steve Reding (Norman Eshley) invites her to visit his horse farm, George and Sandy tell that they are going to visit a friend and Betty tells that she has a date so she will be alone for a couple of hours when she returns to the house. Steve still loves Sarah and they ride together in the fields. When Sarah returns, a maniac has killed her family and the gardener Barker (Brian Rawlinson) but she cannot see them dead. On the next morning, Steve gives a horse to Sarah and she leaves the animal in the stable. When she returns to the manor, she finds that her family was murdered and Barker that is still alive shows her a silver bracelet on the floor with the name of the killer. He tells that she is in danger since the killer will return to the manor to retrieve the bracelet. Barker dies and the killer comes back to the house. Will the frightened Sarah flee from him?

"Blind Terror", a.k.a. "See No Evil" is a timeless classic thriller with an original story. I saw this movie for the first time in the movie theater when I was a teenager and I was impressed with the outstanding performance of Mia Farrow in the beginning of her career. This movie has not aged and it is still a scary British movie. My vote is eight.

Title (Brazil): "Terror Cego" ("Blind Terror")

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.