Alfred Hitchcock Frenzy

Release Date: 1972
Duration: 116 minutes
Starring: Jon Finch, Barry Foster, Barbara Leigh-Hunt, Anna Massey, Alec McCowen

The Necktie Murderer is terrorizing London and police are desperate to track him down. All evidence leads to an innocent man, who must elude the law to prove his innocence. Finding the real murderer is the only way he can salvage his freedom.

Hitchcock Returns to England (and to Form)

After thirty years of making films in the United States, Alfred Hitchcock returned to England to direct Frenzy, a psychological thriller that is every bit as gripping as some of his better-known films, including Psycho, Strangers on a Train, and Shadow of a Doubt. For many critics, Frenzy represented a return to form for Hitchcock, following a trio of films (Marnie, Torn Curtain, and Topaz) that strayed from his most popular themes.

The movie begins with an aerial view of London, accompanied by a triumphant musical score. While the title credits play, the camera closes in over the Thames River and past Tower Bridge, leaving no doubt that the story is set in England's capital. Most of the film was shot on location in Covent Garden, London's historic grocery center where Hitchcock's own father made his living. In outdoor scenes, the director skillfully captures the authenticity of this blue-collar district.

A terrific cast and wonderfully written dialogue bolster the authenticity. As the innocent man suspected of a series of strangulation murders, Jon Finch delivers an excellent performance. His ex-wife and his current love interest are played wonderfully by Barbara Leigh-Hunt and Anna Massey, respectively. But it's Barry Foster, as the real murderer, who ultimately steals the show. Though familiar to British filmgoers, the actors were virtually unknown to American audiences in 1972.

A Tale of Two Murders

The tone of the film is gritty and, at times, downright unpleasant. Murder was a common theme in Hitchcock movies, but there's more to it in Frenzy. The Necktie Murderer is a sexual deviant, who kills purely for pleasure. His perversion makes the crime particularly revolting. This is most apparent in the scene where Bob Rusk (Foster) rapes and strangles Brenda Blaney (Leigh-Hunt). Hitchcock forces the audience to confront the brutality of the murder with an orchestrated series of shots: Brenda's leg, outstretched in tension as her attacker strikes; her breast, exposed as Rusk tears her clothing; Brenda's head, thrashing violently as a necktie tightens around her neck; Bob's face, straining as he squeezes the life out of his victim; Brenda's eyes, filling the screen as the last bit of life fades away. Frenzy is the only Hitchcock film ever to earn an "R" rating, and there is no doubt this scene was partly responsible.

At the same time, Hitchcock can hardly be accused of employing gratuitous violence. His treatment of the film's second major killing is completely different than the first. Rusk lures Barbara Millington (Massey) to his second floor apartment. Hitchcock shoots the pair head on as they ascend the staircase. The camera backs up and pauses on the landing, while the couple walks past. With the camera now stationary, the couple continues their ascent to the door of Rusk's apartment. They disappear behind the door and in a continuous shot, the camera retreats down the staircase in silence, through the hallway, and out the front door into the bustling street. There are no screams or images of violence. The camera movement, alone, tells the audience exactly what has happened.

Black Humor (and Food)

For all of the tension in Frenzy, it also contains Hitchcock's trademark black humor. After disposing of Millington's body in a truck loaded with potatoes, Rusk realizes that his personalized stickpin was grabbed by Millington during the struggle. He returns to the truck to retrieve the incriminating evidence, but before he can find the pin, the truck driver arrives, innocently whisking Rusk and his victim's body away. The ensuing scene is hilarious, as Rusk struggles with the body - now beset by rigor mortis. When he finds his pin clutched tightly in Millington's hand, he tries to use a pocketknife to dislodge it. The blade promptly snaps between her fingers, so Rusk proceeds to break them, one by one, in order to retrieve the pin.

Comic relief is also provided in scenes involving Chief Inspector Oxford (Alec McCowen) and his wife. The scenes revolve around one of Hitchcock's favorite things - food. The Inspector's wife, who recently enrolled in a school of fine gourmet, is keen to treat her husband with exotic dishes, such as soupe de poisson (fish soup) and pied de porc (pork foot). Though they are completely unappetizing, the Inspector tries his best not to discourage her enthusiasm. He comes close only while recounting Rusk's trip in the potato truck and subsequent escape at a "pull-in." When his wife asks what a pull-in is, Oxford explains with obvious longing, "It's a café frequented by truck drivers, dear. They serve humble food like bacon and egg sandwiches, sausages and mashed potatoes, and cups of tea and coffee." The look on Mrs. Oxford's face is priceless.

In Summary

Overall, I would describe Frenzy as a carefully planned and well-executed film. It is a simple story, told masterfully by Hitchcock through succinct dialogue and highly effective visual cues. From the scenes that illustrate how Richard Blaney (Finch) comes to be suspected of his ex-wife's murder, to the circumstances that worsen his predicament, every scene has a distinct purpose. The pace of the film is brisk, but not hurried, while the blend of horror and comedy strike just the right balance.

If you are a fan of Hitchcock, Universal Studios' latest DVD of the film is a must have. For budding collectors, I recommend getting The Masterpiece Collection DVD set, which includes Frenzy and thirteen other Hitchcock classics. Check the DVD modules on this page for more info.

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