Frenzy

I have come across many top Hitchcock lists. 1972's Frenzy seems to be a popular choice among fans. I have found myself immersed in his films from the 50's (Dial M For Murder, The Man How Knew Too Much, Vertigo) and snidely thinking to myself that this 72 flick would have nothing to offer me. This next paragraph is where I tell you I was wrong.

I guess I had yet to be exposed to the sleazy Hitch. Frenzy is my first brush with nudity, but this film had other characteristics that cause me to break out the sleaze terminology. The opening sequence of the film gives us a grand and sweeping view of London. It lulled me into a false sense of knowing what might come next. But as a nude female body washed ashore, the onlooking crowd exclaimed the necktie murderer had struck again and I checked everything I knew about Hitchcock at the door.

The plot isn't overly complex or twisty. Richard Blaney is a man framed for a series of violent murders. Amongst those raped and savagely strangled with stylish neckties are his ex wife and his current fling. The most complex frame job isn't really necessary as Blaney isn't the greatest guy. His sweaty and super sleazy produce selling pal Robert "Bob" Rusk happens to be the lover of forced intercourse and men's fashions. Bob finds it oh so convenient to cook up this little frame job so he can continue with his hobbies. Solid plot. I loved this film. I loved it for everything that was Hitchcockean and all the things that weren't.

The things that weren't typical Hitchcock weren't negative. Like I mentioned earlier, this film had a sleaze factor I have never encountered. Hitchcock has dealt with death, murders and bodies in most of his films (even the comedic The Trouble With Harry). Never before had I seen them be handled in such a visceral manner. The strangulation of Blaney's ex wife was filled with a palpable anger and aggression. As Bob rapes the woman the camera stays in close, focusing on her face, her naked breasts, her eyes. The nudity (even though it surprised me at first) was almost necessary to the scene. It added not only realism to the situation, but helped us connect with the victims helplessness and humiliation. The next murder is handled in a similar manner. After Bob murders Blaney's girlfriend (which we, the viewer, don't see) he disposes of her in an equally degrading manner; he stuffs her naked body in a potato sack. Once he has heaved the sack, heavy with spuds and corpses, onto a truck, Bob realizes he has left incriminating evidence on the body. The retrieval scene rivals the first rape for the top nasty and dirty spot. The girls lifeless body is filthy and smeared with potato dust as Bob violently breaks the fingers that have formed a death grip on her attackers possession.

The things that I (not so artfully) dub "not very Hitchcock", are very 70's. The unclean city, the sweaty, greasy men and the overall bleak feeling are things that are common in cinema of that era. I love the 70's. I love Hitchcock in the 70's.

Although all these "not very Hitchcock" things were present. There were some very familiar things that warmed my heart. The camera angles for one made me obscenely happy. The one I felt needed to be mentioned was the piece of film as the second murder was taking place. As I said, the viewer is not privy to the actual deed. Instead we are treated to an almost silent long shot as the camera descends a staircase. You don't have to see the murder to feel the hopelessness and disconnection. The lingering shot speaks volumes. Even the up close, in your face shots of the first murder are at once uncharacteristically exploitative yet also silently narrative.

Another aspect that made me squeal with Hitchcockean glee was the Inspector. Once again our tale receives a happy ending courtesy of a sly and clever man of the law (Dial M For Murder). It is the very likable Inspector that continues to investigate the murders even after Blaney is convicted.

I could go on and on about Frenzy. The more I write the more I think this film may end up on my top 5 list.