FRENZY was Alfred Hitchcock's penultimate film--and the first film he'd made in England in 20 years. Based on an Arthur La Bern novel, the film focuses on many of the same motifs that Hitchcock had obsessively examined throughout his life's work: the wrong man theme, doubling (in which one person acts out the repressed violence .. Read more
| Starring | Jon Finch, Alec McCowen, Barry Foster, Billie Whitelaw |
|---|---|
| Director | Alfred Hitchcock |
| Genres | Thriller |
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Alfred Hitchcock's penultimate film saw him return to his British roots with this thriller about a necktie murderer causing havoc in London. Jon Finch plays the chief suspect but, typically, Hitchcock is more interested in black humour than a simple whodunnit. Lots of typical Hitchcockian touches are on show — a roving, restless camera; dark shots of fleeing footsteps at the edge of our view; a shocking corpse when least expected… Sleuth author Anthony Shaffer wrote the screenplay and there's plenty of other local talent on display, including Alec McCowen, Vivien Merchant and the excellent Billie Whitelaw. While some regard this as inferior fare, it remains an unsettling piece.
Has-been, unconvincing, cliché-ridden thriller, an old man's sex suspenser, which would have been derided if anyone but Hitchcock had made it. As it is, a few comic and suspenseful touches partly atone for the implausibilities and lapses of taste.
Hitchcock's return to Covent Garden, 'wrong man' plotting, the neuroses of sexual immaturity, and black-humoured... read more on Time Out
Hitch may have been getting on a bit, but that has not stopped him from putting out a movie which can stand alongside his best works. Absolutely superb performances from all involved and Hitchcocks London looks as good on film as it ever did.
Penultimate Alfred Hitchcock thriller filmed before his death in 1980. It features his key theme of the wrong man suffering from mistaken identity, most notable in his masterpiece North By Northwest.
Made after the dull and plotty Topaz, Hitchcock was out to shock. He certainly does shock and gets an 18 certificate from the BBFC for his troubles. The adult only certificate was applied to the film most notably for the rape and murder scene, with its short jumpy French New Wave inspired cuts and rhythmic shouting and groaning from the killer. In 1972 this would have really shocked, but by 21st century standards it seems a little tame and stagey.
To ease the viewer into the never before seen full frontal nudity and murder in a Hitchcock film, he juxtaposes these horrific criminal acts with his usual blend of dark macabre comedy. Added to this are the London locations of Tower Bridge, The Strand and Covent Garden with interiors shot in the legendary Pine Wood studios.
Maybe Hitchcock was on his last legs and thought this was his last film? This would explain why he returned to his roots in native London and his use of stage actors, rather than glamorous Hollywood stars.
Filmed in the early 70's, this late Hitch seems to have dated more than his earlier work. However, the familiar Hitch touches are all here..the wrongly accused man, a series of gruesome murders, and two or three set pieces. It's well acted and decidely grotesque in places. I expected not to enjoy this - it's decidely out of vogue with most critics. But if you're a Hitch fan and up for an old fashioned thriller this is well worth a view.
This is not one of Hitchcock's better films - but even a duff film from him is better than anything. The film has its moments: the fluid camera tracks; the pauses in dialogue; the (rather risque at the time) rape sequence. Unfortunately, the 'war movie' soundtrack from Ron Goodwin (who did 'Where Eagles Dare') spoils the effect, as does the running joke about the Chief Inspector's wife's cooking skills.
Hitch may have been getting on a bit, but that has not stopped him from putting out a movie which can stand alongside his best works. Absolutely superb performances from all involved and Hitchcocks London looks as good on film as it ever did.
Hitch may have been getting on a bit, but that has not stopped him from putting out a movie which can stand alongside his best works. Absolutely superb performances from all involved and Hitchcocks London looks as good on film as it ever did.
Penultimate Alfred Hitchcock thriller filmed before his death in 1980. It features his key theme of the wrong man suffering from mistaken identity, most notable in his masterpiece North By Northwest.
Made after the dull and plotty Topaz, Hitchcock was out to shock. He certainly does shock and gets an 18 certificate from the BBFC for his troubles. The adult only certificate was applied to the film most notably for the rape and murder scene, with its short jumpy French New Wave inspired cuts and rhythmic shouting and groaning from the killer. In 1972 this would have really shocked, but by 21st century standards it seems a little tame and stagey.
To ease the viewer into the never before seen full frontal nudity and murder in a Hitchcock film, he juxtaposes these horrific criminal acts with his usual blend of dark macabre comedy. Added to this are the London locations of Tower Bridge, The Strand and Covent Garden with interiors shot in the legendary Pine Wood studios.
Maybe Hitchcock was on his last legs and thought this was his last film? This would explain why he returned to his roots in native London and his use of stage actors, rather than glamorous Hollywood stars.
Filmed in the early 70's, this late Hitch seems to have dated more than his earlier work. However, the familiar Hitch touches are all here..the wrongly accused man, a series of gruesome murders, and two or three set pieces. It's well acted and decidely grotesque in places. I expected not to enjoy this - it's decidely out of vogue with most critics. But if you're a Hitch fan and up for an old fashioned thriller this is well worth a view.
For his penultimate film Hitchcock returned to his London roots to make this violent sleazy tale of a sexual psychopath on the loose in Covent Garden.
It has the usual Hitchcock theme of an innocent man trying to clear his name in the face of overwhelming circumstantial evidence. There are no big Hollywood stars here, instead we get a solid cast of British actors and a top class script from Anthony Shaffer.
This is one of the most violent pictures Hitch ever directed although strong doses of black humour help to lighten the tone a little. There are some wonderful set pieces - the killer wrestling with a corpse in the back of a potato truck, a fantastic backwards tracking shot from the killer's door down a staircase and into the market streets, a policemen battling with his wife's gourmet cooking.
A disturbing but at times very funny picture, I am sure that directors such as Dario Argento and Brian DePalma would have been influenced by this.
I love this Hitch film thats set in the east end of london.Pitch black comedy.
An atmospheric and sustained thriller written by Anthony 'The Wicker Man' Shaffer.
The only mystery about Frenzy is how a group of such talented individulas could make such a mediocre fim - the horror is that they did!
A number of nice Hitchcock touches , particularly the use of cutting the sound at particular moments; some effective touches of humour around 70s pretentiousness in cuisine and a vintage visual tribute to Covent Garden fruit and veg market, but at the end of the day it doesn't stir the blood. Pity. I do wonder to what extent the use of colour rather than atmospheric black and white didn't suit Hitchcock.
I wasn't expecting much from this film, but after the first half hour I was on the edge of my seat. The opening sequence sees a naked female corpse wash up on the banks of the Thames. She has been strangled with a tie, but who is the necktie murderer and when will he strike again....?
This is a true Great British Film from the master of suspence....just keeps you riveted and doesn't bore for a moment!
The Neck-Tie strangler is on the loose, murdering women. The prime suspect is sought, arrested and charged for the murders however he is innocent - can he clear his name?
Another one of Hitchcock's classic, I loved it.
Alfred Hitchcock's penultimate film saw him return to his British roots with this thriller about a necktie murderer causing havoc in London. Jon Finch plays the chief suspect but, typically, Hitchcock is more interested in black humour than a simple whodunnit. Lots of typical Hitchcockian touches are on show — a roving, restless camera; dark shots of fleeing footsteps at the edge of our view; a shocking corpse when least expected… Sleuth author Anthony Shaffer wrote the screenplay and there's plenty of other local talent on display, including Alec McCowen, Vivien Merchant and the excellent Billie Whitelaw. While some regard this as inferior fare, it remains an unsettling piece.
Has-been, unconvincing, cliché-ridden thriller, an old man's sex suspenser, which would have been derided if anyone but Hitchcock had made it. As it is, a few comic and suspenseful touches partly atone for the implausibilities and lapses of taste.
Hitchcock's return to Covent Garden, 'wrong man' plotting, the neuroses of sexual immaturity, and black-humoured... read more on Time Out