ming movie reviews

in about 100 words or less

Frenzy (1972)

UK 116m, Colour
Director: Alfred Hitchcock; Cast: Jon Finch, Alec McCowen, Barry Foster, Billie Whitelaw, Anna Massey, Barbara Leigh-Hunt

frenzyFrenzy is one of Hitchcock’s more explicitly grisly thrillers about a London serial killer known as the “Necktie Killer” who rapes and strangles his victims. In making use of the familiar theme of an innocent man being wrongly accused, the plot of Frenzy is one of Hitchcock’s own worst nightmares. By revealing the identity of the murderer early on in the movie, and by employing numerous birds-eye views through overhead camera work, the audience becomes voyeur – effectively involving us in the plot. Compared to his earlier films, Frenzy has a great deal sex, nudity and violence, which are not only signs of Hitchcock’s attempt to make a modern film, but are a reflection of changing industry decency standards (Klaus Ming February 2011).


4 comments on “Frenzy (1972)

  1. Anthony Lee Collins

    It was a surprise how explicit it was, not because of the times (early 1970s) but because it was Hitchcock. Which is a reaction I’m sure he planned on. It’s far from my favorite Hitchcock, though it is a fine film. Of his final works, I’m more partial to Family Plot, because it’s loose and fun (and because it taught me something very important about storytelling).

    • Klaus

      I love Hitchcock’s early films, and as I had not seen this one before, I was also quite surprised – although it still had the look and feel of a Hitchcock movie. I’m really not familiar with much of his later films – but I am glad I gave this a look.

  2. Anthony Lee Collins

    I’m not sure how far back you’re going for “early,” but my favorite period is mid/late 1950s. Dial M for Murder, Rear Window, To Catch a Thief, The Trouble with Harry, The Man Who Knew Too Much, The Wrong Man, Vertigo, North by Northwest, and Psycho. That’s 1954 to 1960, according to imdb.

    Not all masterpieces, but my goodness. Comparable to Altman from ’69 to ’75. And To Catch a Thief and The Trouble with Harry show how much sex you can cram into a movie without anything explicit at all. Rear Window, too, though that’s mostly sexual frustration.

  3. Klaus

    I’m partial to his late 1930s & 40s films.

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This entry was posted on 02/24/2011 by in 1001 List, 1970s, All and tagged .
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