Surprisingly entertained - just as it seemed to shift to giallo-style violence, it would swing back to footsie-in-a-truck. Or the tedious exposition would be covered by "the wife's cooking again". A nice rebound after Topaz/Torn Curtain.... I left myself be distracted a few times imagining Oliver Reed as the hero.
It's delicious to watch Hitchcock using the camera. There is one elaborate sequence in which the killer goes upstairs with his victim. The camera precedes them up the stairs, watches them go in a door, and then backs down the stairs, alone, and across the street. The melancholy of the withdrawing camera movement is one of the most touching effects in the film, despite the fact that no people inhabit it.
Frenzy often called as the resurrection of director Alfred Hitchcock after he made some flops. Maybe it's one of his last masterpiece. In this only his R-rated movie, Hitchcock back to his favorite theme. Which is about an innocent man wrongly accused. He didn't seem lose his touch. Hitchcock succeed to prove that he's still the master of suspense. Maybe, the ending is a little disappointment for some audiences...
Début d'un scénario extrêmement brillant avec "l'éternel retour" du thème favori, le faux coupable qui nous donne pour son 52eme et avant-dernier film, un véritable festival de suspense, d'humour macabre et de jeunesse. Un vrai régal pour cinéphile ! www.cinefiches.com
There are some camera shots which remain forever in one's mind. The camera that does not want to see the killing is a wonderful device and a good legacy to his last film. I don't believe the novel is that good and some little details about the morality of sex and also about the dead women I find too much. The depiction of London is also a bit foreign to me, I did not feel it, don't know it that well. Good though...
Unpleasant & ugly in every way: terrible clothing, horrible hairstyles, ridiculous sense of humor, unlikable actors, a script which only comes alive at scenes with brutality & cruelty. I'm not a fan of Mr. Hitchcock as a director & do not share his sexual fantasies, especially his blonde women fetish. 2,5 stars.
This was the time when people were talking about "the new freedom of the screen", which poses a question for Hitchcock: when someone was so adept at sneaking around or challenging the screen's restraints, what to do in the age of X-ratings? The result is his most viscerally shocking movie, but even beyond that, it's a smart look at British repression and a tight, twisty plot that only falters near the end.
Hitch's response to New American Cinema, particularly the films of Scorsese, Coppola and Lumet, is an ugly, funny and totally captivating thriller. Even in all its shocking excess, scenes where nothing is shown -- like the eerie reverse-tracking shot down the staircase and into the street -- are all the more terrifying.
Hitchcock's fascination with sex and violence is expressed most openly in this movie. He does not shy away from grotesque images - including the hilarious dinner plates! - but his direction is straightforward, clean and understated, and it makes the viewing experience tolerable. Midst of this ugliness, Anna Massey's tenderness shines, and it's probably not an accident that she was in "Peeping Tom"...
It's interesting that the BFI has gone to extreme lengths to reclaim Hitchcock as first and foremost a British filmmaker, and yet here we have his return to London after many years in America and the film feels like a definite outsider's stereotyped view of the city. You know it's bad when the London in 'Brannigan' feels more realistic. Smarmy and poorly acted. Should have been renamed Carry On Sex Killer.