Frenzy (DVD)

Since 1969 Hitchcock had been in the relative wilderness, attempting to launch new projects without much success. 'Marnie', 'Torn Curtain' and 'Topaz' had all failed to ring at the box office and more significantly with the critics, 1972 saw Hitchcock return to England, and embark on a low key thriller for Universal.

Adapted from Arthur La Berns novel 'Goodbye Picadilly, Farewell Leicester Square', 'Frenzy' is one of Hitchocks most ...
...the tail end of his career, before the cheap and reasonably cheerful 'Family Plot', it boasts no star names, no scenic locations, no fantastic action sequences. It is however a tight and taut thriller, mean to the core with the only comedy to be found in a rather black way. A cold and cynical glimpse into the human condition, and the corruption of men.

Much of 'Frenzy's success stems from the screenplay of Anthony Shaffer, with Hitch ... more

Since 1969 Hitchcock had been in the relative wilderness, attempting to launch new projects without much success. 'Marnie', 'Torn Curtain' and 'Topaz' had all failed to ring at the box office and more significantly with the critics, 1972 saw Hitchcock return to England, and embark on a low key thriller for Universal.

Adapted from Arthur La Berns novel 'Goodbye Picadilly, Farewell Leicester Square', 'Frenzy' is one of Hitchocks most engaging fims, and with it most neglected. Stuck away at the tail end of his career, before the cheap and reasonably cheerful 'Family Plot', it boasts no star names, no scenic locations, no fantastic action sequences. It is however a tight and taut thriller, mean to the core with the only comedy to be found in a rather black way. A cold and cynical glimpse into the human condition, and the corruption of men.

Much of 'Frenzy's success stems from the screenplay of Anthony Shaffer, with Hitch occasionally rediscovering the flourishes and flair that he brought to earlier works. On the whole though, there is little for Hitch to embellish with his directorial skills, an unremittingly grim tale which follows the trail of bodies left by a serial killer in the centre of London. The script is a delight, and the low key but familiar cast perform it well, a rather different variant on Hitch's innocent-in-peril. Here the innocent is not so clean cut, and many of the characters in the story have little in the way of redeeming qualities. That we root and feel sympathy for the 'hero' is testament to the writing of Shaffer, and acting of Barry Foster, as the villain.

The story concerns the growing list of corpses attributed to the Neck-Tie Murderer, a serial killer spreading fear throughout London. After raping his victims, the killer then strangles them with a tie, before disposing of the bodies about the capital, and as the film opens, a body washes up on the shores of the embankment, tie about it's neck.

Richard Blaney, former RAF pilot, has landed on hard times. Divorced, penniless through failed ventures, and working part time behind a bar, he is running out of favours. Through a misunderstanding he loses his bar job, and finds that his only option left is to visit his ex-wife and ask for financial help. His wife now runs a successful dating agency, and Blaney struggles not be resentful. His temper never was his strong point, and for a swift divorce, it was agreed to cite physical and mental abuse on the papers.

He dines with ex-wife Brenda, and she gives him money to keep his head above water. He returns to visit Brenda the next day after spending the night under the hospitality of the Salvation Army. Her secretary witnesses him arrive before she leaves for lunch. On her return, Brenda lies dead, raped, strangled, and necktie hanging from about her throat. The finger of suspicion points firmly at Richard Blaney, but perhaps the Police may find their efforts better served looing through the files of men on the dating agencys' books.

Unwittingly, every movement and action of the previous 2 days has linked Blaney with his wifes death. Traces of her makeup on the notes he was given, his temper, the list of coincidences is endless. The only person who believes his innocence as he attempts to escape police capture is his mate Bob Rusk. Good old Bob will make sure 'Dick' is okay, and he will look after Blaneys girlfriend Babs too. He will take good care of her. After all, Bob likes women, so much so that he signed onto the books of a dating agency...

'Frenzy' has a genuine nailbiting tension that runs from start to finish. Each turn of the screw is entirely predictable, and all the more thrilling for it. You witness each mistake and bad move that Blaney makes, while all the time watching the sly Rusk distancing himself from the events. Hitchcock directs well, even if it does seem that he is a little ill at ease with the new decade. Occasionally the film feels more 50's than 70's in tone, and a few of the plot contrivances belong to a more naive era, but for the majority of it's 116 minutes, it's splendid stuff.

Using great locations around the capital, Hitch gives us a bustling, hustling London free of red buses, Beefeaters and shots of over familiar landmarks. We witness a working city, where everyone is too busy to notice a girl disappearing here, and the erratic behaviour of one man amongst a sea of faces. The set pieces are vintage Hitchcock, and although the rape and murder of Blaney's ex-wife lingers onscreen a little too long, it is well staged and paints a horrifying portrait of the act of rape. A later sequence of great ingenuity follows the attempts of Rusk to recover a vital tie pin from the grasp of a dead victim. Classic Hitchcock. The suspense is unbearable.

The cast is a delight. Jon Finch gives a very good performance as Dick Blaney, a man prone to swings of mood, and never quite on an even keel, and from time to time we question his innocence. Barry Foster is the obseqious Bob Rusk, all smiles and charm, with a cold heart and twisted mind beneath the facade. Foster is at his best when Rusk is at his worst and gives a chilling account of a man completely out of control. Anna Massey contributes by making Babs one of the few likeable leads in 'Frenzy', and further down the cast list you will spot the likes of Billie Whitelaw, Clive Swift, Jean Marsh, Bernard Cribbings and Barbara Leigh-Hunt. Special mention though to Alec McCowen as long suffering Det. Inspector Oxford, head of the murder enquiry. The films only light touches come courtesy of Oxford and his musings on the case to his endearingly dotty wife. She is attending haute cuisine night classes, and at the end of each gruelling day of investigation he must endure further horrors at the hands of his wifes cooking.

Shot in a realistic fashion, with little gloss, and making use of Syd Cains (veteran of many Bond outings) functional interiors, and Gilbert Taylors economic lighting, 'Frenzy' sometimes feels too close to home for comfort. Serial Killers are far less threatening in glossy movies, with stunning locations, tanned blonde victims and a pounding rock score. When they are very ordinary people preying on the very ordinary person next door, shot in a documentary style, in recognisable places, that is when things get a little uncomfortable.

Ron Goodwin provides a great score, opening with a patriotic optimistic theme, which accompanies a single take aerial sequence where we slowly descend upon London, at it's best when accompanying the movements of Rusk in a dark and deserted London. Ron Goodwin was brought to the project to replace Henry Mancini, who Hitchcock felt was too eager to replicate the music of Bernard Herrmann. Search out Mancinis lost cues though and you will find a wonderfully sinister take on 'Frenzy'.

Ocassionally static, sometimes stilted, yes 'Frenzy' is a little anachronistic, but push to one side any minor quibbles with Hitchcocks penultimate feature and enjoy for what it is, a rollercoasting, nailbiting return to form for the master of suspense.

'Frenzy' is about to be reissued on DVD after a 2 year absence. The picture is a nice anormorphic transfer, sound arrives via a digital mono track. Packaging is okay, and it boasts an interesting 30 minute 'making of'.  

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