Part of Greatest English Language Horror

Frenzy (1972)

Directed by Alfred Hitchcock

(4 out of 4)

 

Review by Brendan Peterson: “Frenzy” doesn’t turn up on many horror movie lists, but the terror of Alfred Hitchcock’s 1972 film resonates with me specifically. I was eleven when my parents took me to the old Richelieu Rep Theater in San Francisco (may it rest in peace) to see this thriller. At that point, I had already seen half a dozen of Hitch's films, but “Frenzy” was different; it features nudity, rape and brutal violence, so it's not your average afternoon arthouse flick. Needless to say I was traumatized, my parents were appalled, and this film found a special place in my heart of horrors.

“Frenzy” was the first Hitchcock film to receive an R rating and marked the master’s return to London after 20 years of making U.S.-based features. The screenplay, by Anthony Schaffer, is full of Hitchcock’s favorite themes, including: a 'wrong man' accused of crime; sexual perversions at every turn; and supporting characters who openly discuss serial murders and sex crimes.

The story centers on Richard “Dick” Blaney (Jon Finch), a down and out Londoner having a particularly bad day. Sacked from his pub job and short on cash, he looks up his ex-wife, Brenda (Barbara Leigh-Hunt), who runs a successful matchmaking business. But when Brenda becomes the latest victim of London’s Necktie Murderer, Dick is suspect #1. Of course, Hitchcock isn’t interested in making a whodunit – so we know who did it from the get-go, and it wasn’t Dick. Dick’s pal, smarmy businessman Robert “Bob” Rusk (Barry Foster), is the twisted bloke behind these heinous crimes. A well-dressed bachelor who sells wholesale fruit at London’s Covenant Garden, Bob is all smiles on the outside, but inside this guy has Norman Bates-sized issues. As the story unfolds and more victims turn up, both men desperately avoid the authorities, specifically quirky and charming Chief Inspector Oxford (Alec McCowen).

The horror of “Frenzy” stems from the brutal realism of the violence and the disturbing motivation of the film’s everyday evildoer, Bob Rusk. This twisted psychopath, who repeats the word “lovely” over and over while he rapes and murders his victims, just might be your next-door neighbor. Unlike his cinematic counterpart Norman Bates, who's full of ticks and social awkwardness, Bob Rusk hides his lust for sexual violence under a veneer of suave charm. His motivations are less obvious than other movie serial killers before him, which makes his character twice as freaky. Why does he kill? Is it just to get off? That was pretty intense content for Universal Studios in 1972, and Hitchcock doesn't hold back: this movie is nasty and shocking in new and surprising ways. We can see the master taking advantage of post-'60s freedom of expression and pushing the limits of cinema, art and censorship like never before.

As usual, Hitchcock was interested in capturing more than just in-your-face ultra violence, and "Frenzy" is exquisitely shot and edited from first frame to last. Right from the opening tracking shot, where we descend from high over London into the murky waters of the Thames, we know that even at the ripe old age of seventy-three, Hitchcock was entirely in control of his powers. Every character has something interesting to say about the themes being explored. Every angle and point of view has meaning. Whether it’s a simple staircase, an empty courtroom or a half eaten apple, Hitchcock uses framing, light and music to imbue menace and excitement into seemingly banal moments. (In particular, an extended scene in the back of a vegetable truck – with Rusk, a dead body and hundreds of potatoes – is as funny, disturbing and suspenseful as anything Hitchcock's ever crafted.)

The greatest recurring joke here revolves around Inspector Oxford’s wife (Vivien Merchant) who, much to the dismay of her husband, recently discovered the joys of gourmet cooking. In one scene, she serves up fish soup, which just might be the ugliest image in the film, and while doing so offers profound insights into the murder case and the motivations of the various suspects. And it's for moments like these and others – which you wouldn't find in your average Hitchcock classic – that I'm able to overlook the last twenty minutes of "Frenzy," which play out a bit too neat and tidy, and rank the film alongside other greats from this master, including "Psycho," "Vertigo" and "The Birds." In fact, it deserves a spot on every list of classic horror flicks.

Last Word:

An under appreciated Hitchcock classic. A truly disturbing horror flick that captures the vibe of 1972 London and showcases the master of suspense at the top of his game – even at age 73.

Review By:
Brendan Peterson

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