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Frenzy [1972]


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Editorial
Amazon.co.uk Review

By the time Alfred Hitchcock's second-to-last picture came out in 1972, the censorship restrictions under which he had laboured during his long career had eased up. Now he could give full sway to his lurid fantasies, and that may explain why Frenzy is the director's most violent movie by far--outstripping even Psycho for sheer brutality. Adapted by playwright Anthony Shaffer, the story concerns a series of rape-murders committed by suave fruit-merchant Bob Rusk (Barry Foster), who gets his kicks from throttling women with a necktie. This being a Hitchcock thriller, suspicion naturally falls on the wrong man--ill-tempered publican Richard Blaney (Jon Finch). Enter Inspector Oxford from New Scotland Yard (Alex McCowan), who thrashes out the finer points of the case with his wife (Vivian Merchant), whose tireless enthusiasm for indigestible delicacies like quail with grapes supplies a classic running gag.

Frenzy was the first film Hitchcock had shot entirely in his native Britain since Jamaica Inn (1939), and many contemporary critics used that fact to account for what seemed to them a glorious return to form after a string of Hollywood duds (Marnie, Torn Curtain, Topaz). Hitchcock specialists are often less wild about it, judging the detective plot mechanical and the oh-so-English tone insufferable. But at least three sequences rank among the most skin-crawling the maestro ever put on celluloid. There is an astonishing moment when the camera backs away from a room in which a murder is occurring, down the stairs, through the front door and then across the street to join the crowd milling indifferently on the pavement. There is also the killer's nerve-wracking attempt to retrieve his tiepin from a corpse stuffed into a sack of potatoes. Finally, there is one act of strangulation so prolonged and gruesome it verges on the pornographic. Was the veteran film-maker a rampant misogynist as feminist observers have frequently charged? Sit through this appalling scene if you dare and decide for yourself. --Peter Matthews


beautifully interpreted misunderstandings
Review date: 2008-09-25 Rating: 10 out of 10

This is an excellent view of showing how a simple crime can be hideously misinterpreted leading to a gross miscarriage of justice .

The observations of people from their aspects can lead to huge errors is beutifully borne out by the clever script .

The various perspectives sound very logical yet we know the wrong man is being implicated as the serial killer but hitchcock wants us to derive at the final conclusion -is circumstantial evidence ever enough to accuse and convict a person .

He has intelligently answered the query and left us to make our own conclusions regarding the controversial issue.

There is a typically humoresque subplot about the merits of marital life and the culinary delights of french cuisine which the master has delightfully ridiculed here as an english wife introduces her reluctant spouse to continental delights in a hilarious manner.

The crimes are staged with subtlety though there are some graphic scenes involving rape and murder- they are in context and give you a psychological insight into the killer's mind .

The movie is my favourite amongst the latter day productions of the master and is a very witty story as well as a tecnical gem -must see.

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Reviews


Mr Rusk, you're not wearing your tie...
Review date: 2008-08-28 Rating: 8 out of 10

Remembered by many as Hitchcock's final great movie (although his next, and last, movie Family Plot is, in my opinion, unfairly maligned), Frenzy can certainly be described as a return to form after the disappointments of his three previous movies (Marnie, Torn Curtain & Topaz). Echoing his silent classic The Lodger from 46 years earlier, but with more explicit handling of rape and murder, it's murder and suspense by the way of black comedy.

The neck-tie murderer is on the loose in London, and when Brenda Blaney (Barbara Leigh Hunt) is murdered in the office of her own dating agency, suspicion falls on her ex-husband Richard (Jon Finch). The real murderer however is his friend, likeable grocer Bob Rusk (Barry Foster). Whilst Foster's character has "certain peculiarities" that are all too readily apparent, he's a more likeable character than Finch's, perhaps partly as a result of Hitchcock's apparent professional dislike for Finch. Arguably however, it makes the story all the more believable. Blaney may be a bad piece of work, but that doesn't make him guilty of his crimes. But, much like in the lighter in Strangers On A Train twenty years previously, when Rusk realises he's left evidence that can tie him to the murders on a victim, who hasn't watched and wanted the villain to succeed?

A horrible hero and a cultured, and to a point, likeable villain make the film, but there are some strong supporting performances (not least in the form of Alec Mc Cowen's Inspector Oxford - complete with the running gag about his wife's food) that enhance our enjoyment and its proof that even more than 40 years after his debut, Hitchcock still had it.


One of Hitchcock's Finest
Review date: 2008-05-04 Rating: 10 out of 10

After a string of sub-par films, and immediately preceding his final and endlessly flawed comic mystery, "Family Plot," Hitchcock returned briefly to full form with "Frenzy." This film is the shining jewel of Hitchcock's latter years, rating in my estimation among his top five cinematic achievements...alongside "Rope," "Rear Window," "North By Northwest," and "Psycho." "Frenzy" is perhaps Hitchcock's fullest exploration into the theme which has fueled his best work, dating all the way back to the 1926 silent, "The Lodger." Hitchcock's "wrong man" theme was used very successfully in such films as "North By Northwest," "I Confess," and, aptly enough, "The Wrong Man." But nowhere is it as fully illustrated as in "Frenzy." In addition to being Hitch's ultimate exploration into this familiar subject, "Frenzy" is also Hitchcock's most chilling film, with numbing scenes of suspense and his most appalling, frightening screen villain since Norman Bates.

All in all, and especially considering the overall lacking quality of Hitchcock's later films, "Frenzy" is a brilliant achievement, and truly amongst his finest work.

On a sidenote; those who blame Hitchcock for the intensity of the rape/strangulation scene should realize that he wrote neither the screenplay (which was written by playwright Anthony Shaffer, best known for his marvelous comic/mystery "Sleuth") nor the novel upon which it was based ("Goodbye Piccadilly, Farewell Leicester Square" by Arthur La Bern)...and that the scene in the film runs exactly the same course, with precisely the same detail as the scene in the book. In fact, now that I think of it, the scene in the film is actually tamer. Hitchcock's film does not, after all, make any reference to the postmortem insertion of a letter opener. If anything, Hitch showed restraint with his version of the scene. Not as much restraint as is usual for him...but restraint, nonetheless. And he achieved what he set out to do. The scene is absolutely chilling. And not only is it memorable...it's the most unforgettable scene of its kind.

prime Hitchcock, his last great achievement
Review date: 2008-04-04 Rating: 8 out of 10

Albeit not as glorious as Hitch's classical psychological thrillers like "North by Northwest", "Vertigo", "Psycho", "The Birds", "Dial M For Murder" and "Rear Window"; "Frenzy" has its own charm and beauty and should be regarded as Hitch's last great achievement in the twilight of a brilliant career.

The premise of the film is nothing new: a case of mistaken identity. A man wrongfully accused of serial murders, and he must uncover the truth about the killings and clear his name. In "The 39 Steps", "North by Northwest", "Young and Innocent", "The Wrong Man" and "Saboteur" we saw a similar theme. But, at least one factor makes "Frenzy" so worthwhile: this is Hitchcock's first and only film to be given an 'R' rating by the MPAA during his 51-year career.

In earlier works, Hitch generally preferred to imply violence rather than openly showing it on the screen, leaving enough room for viewer's imagination. But, in "Frenzy" there are flagrant displays of lurid violence, especially the first murder scene, which plays on themes of explicit and prolonged rape, and slow strangulation. Also, the moment in the rear of a potato truck during which the "Necktie Killer" attempts to wrench the evidence off the corpses' hand by breaking her fingers stiffened by rigor mortis. It has good thrilling elements as well as Hitch's patented ghoulish humor. Just like famous shower scene of "Psycho", this is one of the most memorable scenes in Hitch's career.

Yeah, "Frenzy" has unsympathetic characters played by unknown and non-Hollywood-type cast, no beautiful locations, no icy blondes, no romances, no high dramas, no MacGuffins... It is neither atmospheric nor mysterious, yet it has a realistic feeling that works on numerous different levels. Recommended... (3.7/5.0)

Quick Reviews!
Review date: 2007-10-28 Rating: 8 out of 10

POSSIBLE SPOILERS!

Hitchcock returned to Britain after almost twenty years and made this, one of his last films. Using the grim, yet bustling background of London we watch the story of a serial killer who uses his neck tie to strangle his victims after raping them. For the first part of the film we assume that the killer is Richard Blaney, a man with a suspicious looking tie who has just been fired from his job at a pub. A war veteran of some note, he has failed to make an impact on the post-war world, and is known for his fiery temper. His ex-boss seems like a prejudiced fool, Blaney is sleeping with co-worker Babs, is friends with successful comrade Robert Rusk, and decides to meet his ex-wife to get the money she owes him. They divorced a while back, and during a heated discussion her secretary Monica hears a loud bang before going to lunch. Blaney leaves with the money, but annoyed about his bad day. We then see Rusk going to see Brenda, Blaney's ex-wife in her office. She runs a lonely hearts bureau, setting people up, and Rusk is a frequent customer. However, he wants women who have strange habits. When Brenda refuses him, Rusk rapes and kills her and we see that he is the neck tie killer. The police believe it is Blaney, the secretary says she saw him go in to the office and believed the bang she heard was him hitting her. As the evidence piles up, Robert goes on the run with Babs who believes he is innocent, and they try to find a way to prove his innocence. There seems to be no way out though.

This is another intricate film by Hitchcock, skilfully built up then taken apart just when we thought there was going to be no justice. This is notable as it was Hitchcock's first '18' rated film, and features some full frontal nudity, swearing and graphic violence. There is still a heavy amount of tension though, and the scenes of murder are shocking. There are good performances from all here, including those in smaller roles- Jean Marsh as the secretary, and Clive Swift of Keeping Up Appearances fame. There is much humour also, the scenes between Inspector Oxford and his wife are the obvious funny parts, but there is also the more subtle, darker humour- the death grip, the body falling off the van, the ending. Another thoroughly watchable, clever, and interesting film from the Master.

As this is not one of Hitchcock's most famous works, the extra features are light. This should not detract potential buyers, though it is disappointing.

Product Details/Specifications


Actor(s):
Jon Finch
Anna Massey
Barry Foster
Barbara Leigh-Hunt
Alec McCowen

Creators:
Jon Finch (Primary Contributor)
Barry Foster (Primary Contributor)
Gilbert Taylor (Cinematographer)
Leonard J. South (Cinematographer)
Alfred Hitchcock (Producer)
John Jympson (Editor)
William Hill (Producer)
Anthony Shaffer (Writer)
Arthur La Bern (Writer)

Director(s):

Recording label: Universal Pictures UK
Manufacturer: Universal Pictures UK
EAN: 5050582362039
Binding: DVD
Number of items: 1
Format: PAL,
Release date: 2005-10-17
Number of discs: 1
Aspect ratio: 1.33:1
Audience rating: Suitable for 18 years and over
Region code: 2
Running time: 110 minutes
Theatrical release date: 1972-06-21
Language: English (Original Language)
Language: English (Subtitles For The Hearing Impaired)
Language: German (Subtitled)
Language: Dutch (Subtitled)
Language: Swedish (Subtitled)
Language: Norwegian (Subtitled)
Language: Danish (Subtitled)
Language: Finnish (Subtitled)

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