Frenzy (1972)

Alfred Hitchcock's penultimate film, written by Anthony Shaffer (who also wrote Sleuth), this delightfully grisly little tale features an all-British cast minus star wattage, which may have accounted for its relatively slim showing in the States. Jon Finch plays a down-on-his-luck Londoner who is offered some help by an old pal (Barry Foster). In fact, Foster is a serial killer the police have been chasing--and he's framing Finch. Which leads to a classic Hitchcock situation: a guiltless man is forced to prove his innocence while eluding Scotland Yard at the same time. Spiked with Hitchcock's trademark dark humor, Frenzy also features a very funny subplot about the Scotland Yard investigator (Alec McCowen) in charge of the case, who must endure meals by a wife (Vivien Merchant) who is taking a gourmet-cooking class. --Marshall Fine Amazon.com

HITCHCOCK'S FRENZY

Alfred Hitchcock - The Legend Begins (20 Movie Classics)
I saw FRENZY from my Dad's collection. Hitchcock has that rare ability to evoke the most devastating fear with a minimum of on-screen blood and violence. My Dad used to say of Hitchcock films, " It's not what you see, but what you don't see that is so frightening." Hitchcock delights in turning macabre scenes into black comedy. Such is the scene in which a corpse's stiff leg refuses to be neatly packed, intact with its body, into a sack of potatoes. Hitchcock is taking something attractive and making it repugnant by its content and, in a sinister way, rather funny. Hitchcock thoroughly enjoys having a go at the audience by solving the complicated plot in the last ten seconds. November 1, 2008

One of Hitch's best

Have you ever wondered about what a famous artist's work would be like if they were living in the present age? Imagine Van Gogh living in Los Angeles, or Dante writing of the military debacle in Iraq. Well, imagine what Alfred Hitchcock- either of the early British thrillers or 1950s vintage era Hollywood classics, would be like if he were given a free hand in the 21st Century. Fortunately, cineastes need not strain their imaginations too much, for his penultimate film, 1972's Frenzy- his first film made in England in over twenty years, gives hints as to what a 21st Century Hitchcock would provide; and it's assuredly good. In fact, save for a too rushed last fifteen or twenty minutes, it would be the equal of his three or four greatest films. As it is, however, it's still a near-great thriller, and thoroughly modern in its usage of sex, nudity, violence, and profanity; so much so that it was the only film of Hitchcock's to earn an R rating, and likely owes that to its being filmed outside the U.S. What sets the film apart from lesser films that exploit such seamier aspects of the human condition is that Hitchcock knows where and when to place such scenes, how to film them, and when to show restraint and not.
The plot of the film is standard Hitchcock fare. In a sense, the old canard that Hitchcock only made one film and made it over and over again has some merit. Similar things have been said about Japanese film director Yasujiro Ozu, and the fact that he made mostly films that depicted Japanese family life, but it's a testament to Hitchcock's craftsmanship that all of his crime pictures and thrillers approach such similar subject matter in disparate ways; much as Ozu's families, while similar in many surface details, were different under the familial flesh.
Frenzy is about serial murder (The Lodger, Psycho), sexual deviance (Psycho, Strangers On A Train, or Rope), it is about a wrongly accused man (Strangers On A Train, The Wrong Man), as well as being about betrayal, and oneupsmanship. The film has often been lumped in with Hitchcock's other post-The Birds films as somewhat of a failure, but, in reality, it was critically hailed, a box office hit that was lacking in star power and filmed on a low budget, and represented somewhat of a comeback film for Hitchcock, whose three box office failures in the mid to late 1960s- Marnie, Torn Curtain, and Topaz- had made him become perceived as `outdated' in Hollywood. Thus, the return to England, and London specifically, was viewed as a homecoming and a needed artistic rejuvenation. It worked. In spades. Frenzy opens with Hitchcock's cameo, as he and a crowd watch a local politician demagoguing about pollution in the Thames River. Suddenly, a naked corpse floats by, and people see it's another woman killed by The Necktie Murderer, as the latest serial killer has been dubbed.... While many of Hitchcock's earlier films on murderers are outdated, due to psychological and forensic advancements- even Psycho seems somewhat quaint, Frenzy is fully modern. Rusk keeps trophies of his victims, and even revels in the framing of his friend, to prove his `superiority', especially to Blaney. There are also very subtle clues to Rusk's deviance early on- such as a glimpse of his wacky mother (ala Psycho and Strangers On A Train), and the plot does unfold believably, not at a Hollywood modern computer game pace, which only points out the flaws toward the end. Hitchcock also revels in real locations like never before. 1970s London looks and feels the way Charles Dickens may have viewed it had he lived a century later. The city is, perhaps, the central character of the film, and lends a realism to Frenzy that many earlier Hitchcock films lack. The only backscreens used are in a few shots from moving vehicles.
Yes, there are a few other flaws, such as Brenda's odd impassivity as she is being raped and killed, and a few logical problems, mostly plot holes that are `resolved' by the lowest common denominator law of `the dumbest possible action'; but compared to standard Hollywood fare, Frenzy is a near-masterpiece, not only as a genre film, but it is the rare Hitchcock film that probes its characters' psychological depths with a modern realism. That such a formulaic (in the best sense) director was still evolving and adding things like forensic psychology and new camera tricks to his repertoire so late in his career only makes one wonder just how far his oeuvre would have come were he still alive and making films today. Now there's a really scary thought!
September 11, 2008

Not your typical Hitchcock movie...

This is much more raw and explicit than his earlier films. It's also a change because, unlike his earlier movies set in America, this one is set in London, England during the early 1970s. The hair and fashion will prove that. But on to the movie...

This is a bit long, but interesting. One thing is for certain: the killer is not who you think he is, and the real one is a surprise. The guy is a depraved nut who rapes his victims, then strangles them with his own neckties. Naturally, the wrong guy gets set up based on circumstantial evidence; however, Hitchcock never left his audience hanging, and the ending is a satisfying one. WARNING: There is explicit nudity and a rape and strangle scene in this; there is also abuse of a corpse. This movie is not for the weak at heart (or stomach). Otherwise, if you can handle it, do see this. It's riveting. August 24, 2008

Another Great

Continuing to utilize his infamous themes of mistaken identity and mix ups, Hitchcock puts Richard Blaney in deep trouble in this sexualized thriller.

What if everything you said and did in a matter of a few days made you the prime suspect in a string of serial rapes/murders? Well, Richard Blaney runs for his life. Co-starring Barry Foster and Anna Massey (from Peeping Tom), Hitchcock gives us thrills, chills, and even some highly sexualized scenes.

Not your typical Hitchcock, but it still employs his usual trademark plot points and ability to captivate and torment you. You will not be disappointed. Recommended for everyone, but especially for die-hard fans. June 18, 2008

Unique Morbidity and Neckties

From the opening shot and Ron Goodwin's very British score, 1972's FRENZY is a thriller that harkens back to the type of films he was directing in the 40's that combine his unique morbidity with incongruous humor and the element of the wrong man being accused of something he did not commit. However, the viewer (at least from my point of view) has no strong central character to identify with. Our protagonist Richard Blaney, played by Jon Finch, is a bit of an indifferent and somewhat grating sort of fellow who lacks both wit and charm gaining little sympathy from just about anyone. The true antagonist, the real Necktie Murderer and sociopath Robert Rusk, played with great charm and menace by Barry Foster, is very charismatic and demonstrates cunning intellect and perseverance throughout the film. At one pivotal and suspenseful macabre scene in the film Hitchcock actually has the audience identifying with the killer. The film's macabre elements are counterbalanced by Chief Inspector Oxford (Alec McCowen) who must undergo pseudo gourmet meals, which are gastronomically hideous contrivances, served by his wife (Vivien Merchant). FRENZY is a very British treat from Alfred Hitchcock returning to his roots one last time. May 18, 2008

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