Frenzy

Hitchcock did one hell of a job! I was planning on watching this movie just for about 30 minutes before going to sleep and was gonna finish watching it the next day, but instead I was so engaged that I couldn't stop watching and stayed awake the whole 2 hours. I loved the irony of the actual rapist having no clues pointing to him and the innocent man having all clues pointing to him. The scene involving the rapist in the back of the truck, rummaging through a sack of potatoes (and that's all I'll reveal) is classic suspense. I also loved how Hitchcock left the rape scenes (excluding the first one) up to the imagination. There is a great shot where one of the victims is being raped and we don't even hear any off-screen yells or screams. The camera simply tracks backwards down a staircase and out the front door, where people walk by minding their own business, ignorant to the evil that's being committed a floor above. Any amateurish director would've went for true shock value and showed all the rape scenes in explicit detail. We don't call Hitchcock the master of suspense for nothing. The scene is still quite haunting. In horror and suspense, what you don't see can be a lot more frightening than what you do see, since the imagination is a powerful thing. The last line of the movie should go down in history. It had me bawling with laughter! Just that one line gave perfect closure to this wonderful film.

My score: 8 (out of 10)

Hitchcock had been in a bit of an artistic slump when, after some thirty years, he returned to England for this, his next to last film--and the result was his final masterpiece.

Scripted with ghoulish humor by Anthony Schaffer, FRENZY opens with a ceremony on the banks of the Thames in which Londoners inaugurate legislation to rid the river of pollutants... only to have the corpse of a naked woman wash ashore in the midst of their celebrations. She has been strangled with a tie--the latest victim of a serial killer who savagely rapes and then murders his victims by twisting his necktie around their throats. With the city in a panic and Scotland Yard desperate to catch the killer, suspicion falls on a down-on-his-luck bartender named Richard Blaney. Trouble is, he isn't the killer.

In a sense, FRENZY has a strangely Dickensian flavor. It is a film that by and large seems to happen in public places: pubs, parks, offices, hotels, and most particularly Covent Garden with its constant hustle and bustle that serves to conceal horrors that occur inches away from the safety of the crowds. Indeed, the city seems almost a "master character" in the film, constantly pressing in upon the humans that inhabit it.

Fans of the British comedy series "Keeping Up Appearances" will recognize Clive Swift in a minor role, but for the most part the cast consists of unknowns--but while they lack name recognition they certainly do not lack for talent, playing with a realism that seems completely unstudied. Leading man Jon Finch (Richard Blaney) is perfectly cast as the attractive but disreputable suspect on the run, and he is equaled by his chum Barry Foster (Robert Rusk.) A special mention must also be made of the two female leads, Anna Massey and Barbara Leigh-Hunt--not to mention the host of supporting characters who bring the entire panorama of the great city to life.

In his earlier films, Hitchcock generally preferred to work by inference, implying danger and violence rather than openly showing it on the screen. PSYCHO broke the mold, and with FRENZY Hitchcock presents a sequence that many believe equals the notorious "shower scene:" a horrific rape and slow strangulation that leaves the viewer simply stunned. But having given us this horror, Hitchcock ups it with a scene in which we see no violence at all: just a camera shot that glides away from an apartment door, down the stairs, through the hall, and out into the busy street... as we shudder with the knowledge that the woman who just entered that apartment door is now being horrifically raped and murdered.

Hitchcock made one more film, a comic wink with twists of suspense starring Karen Black, Bruce Dern, and Barbara Harris called FAMILY PLOT--and it is an enjoyable film in its own right. But it is FRENZY that is the final jewel in the Hitchcock crown, a film to rank among his best. The DVD presentation includes a number of extras--including numerous interviews with the cast--that Hitchcock fans will find fascinating. All in all, FRENZY is fearsome, wickedly funny, and strongly recommended... but not for the faint of heart!

Gary F. Taylor, aka GFT, Amazon Reviewer

"Frenzy" was Alfred Hitchcock's next-to-last film. And though it's not a great classic like "Psycho" and "North by Northwest", it's still a very good movie. After making mostly American movies for four decades, Hitchcock returned to his native Britain to make "Frenzy". It's about a series of murders that's devastating London. These murders have two things in common: 1) The victims are all women; and 2) they're all raped and then strangled with a neck-tie. When a marriage counselor is murdered this way, the police suspect the woman's ex-husband is the culprit. But actually the husband is innocent, and is forced to hide out from the cops. "Frenzy" has all the usual Hitchcock elements: thrills, suspense, comedy, and Hitchcock's cameo appearence. The two best scenes in the movie are the hilarious moments when the police inspector (who's heading up the investigation of the neck-tie murders) is served two gourmet dinners by his wife. These scenes are very funny. The comic moments is what gives "Frenzy" a edge over Hitchcock's previous film "Topaz". Plus, it's a more entertaining thriller.

*** (out of four)

A good return to form for the master of suspense, Alfred Hitchcock. Since The Birds in 1963 Hitchcock's movies (Marnie, Torn Curtain and Topaz) had not met with commercial success (though, personally, I think Marnie was great).

Frenzy sees Hitchcock back to doing what he does best - suspenseful murder dramas. Great, intriguing plot with the usual clever direction from Hitchcock. Some of his camera angles and exterior shots are straight from his own book of how imply something and create tension without saying a word, or using manipulative music.

The movie also has some great comedic moments. The Chief Inspector and his wife having dinner were always hilarious.

Much more edgy in terms of nudity and sex than any previous Hitchcock movies. This could be ascribed to censorship restrictions being relaxed. Also tells you what Hitchcock could have done with is movies if all the stupid, puritanical censorship wasn't there all along.

Not as tightly wound as his greats (Rear Window and Psycho especially), so not perfect as far as suspense and enthrallment goes.

Good performance by Jon Finch in the lead role. Good support from Alec McCowen, Barry Foster, Anna Massey and Barbara Leigh-Hunt.

Sadly, this was to be Hitchcock's penultimate movie. His final movie, Family Plot was released four years later, in 1976. He died in 1980.

The grand man of suspense, Alfred Hitchcock, directs this dark film about a man that kills women with neckties with relish, aplomb, and an atypical grimness. The story is typical Hitch as an innocent man is pushed into a world of intrigue around him as everyone believes him to be the necktie killer. Jon Finch plays the innocent with earnestness and is quite good in his role. The rest of the cast is very effective as well. Hithcock, however, is the real star with his camera. Although much of the film is nothing more than tried and true material, Alfred Hitchcock makes the mundane spectacular with his camera and some great shots and spaces of silence. The scene where a girl coming back from lunch is awesome as we the audience are made to wait what seems an eternity for her to discover what has taken place since she left. The scene of the camera moving in and out of the house of the killer is also wonderful, as is the scene with the killer in the potato truck. That scene is easily the most suspenseful of the entire film. The film is particularly dark for Hitchcock as a women is raped rather abruptly(for lack of a better word) showing naked breasts and genuine terror. To counter-balance the more lurid aspects of the film is a subplot story of a police inspector, played with charm by Alec McCowen, whose wife constantly feeds him nothing but gourmet meals that sound and look quite horrible! These scenes are so funny and charming! A good thriller from the master of suspense!