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Click above to purchase "Frenzy" at amazon.com
Frenzy
review by Anthony D.
Studio: Universal
Running Time: 116 minutes
Starring Jon Finch, Barry Foster, Alec McCowen, Billie
Whitelaw, Anna Massey. Barbara Leigh-Hunt, Vivien Merchant
and Jean Marsh
Written by Anthony Shaffer
Directed by Alfred Hitchcock
Retail Price: $26.99
Features: Theatrical Trailer, "The Story Of Frenzy"
Documentary, Production Notes, Production Photos, Cast and
Filmmakers' Biographies
Specs: 1.85:1 Anamorphic Widescreen, English Dolby
Digital 2.0 Mono, French Dolby Digital 2.0, English
Subtitles, Spanish Subtitles, Chapter Search
From a swooping opening helicopter tracking shot,
carrying the viewer to London's fabled Tower Bridge, Alfred
Hitchcock's "Frenzy" grabs the audience by the collar and
never lets go until its final ironic shot. Returning to his
native England for his 52nd film, Hitchcock not only
presents a valentine to the city of his youth, but a
fascinating, mesmerizing morbid tale of another "wronged
man," a vital Hitchcock theme. The Master's touch took in
the permissiveness of 1970's cinema to new heights of
suspense with the addition of graphic violence and nudity
only hinted at in a Hitchcock film until now.
Pity poor Richard Blaney (portrayed by Jon Finch, looking
remarkably like a younger, less boozy, Oliver (Gladiator)
Reed), who has not only lost his job as a barman, but is
broke and on the lam from the law who believe him to be the
notorious "Necktie Murderer;" a killer the likes of London
has not seen since Jack the Ripper. Richard's ex-wife, the
owner of a lonelyhearts type service, has fallen victim to
the hands of the necktie murderer only a day after he has
paid her a visit with near-violent results. Her secretary (
a pre- "Upstairs, Downstairs" Jean Marsh) has had the
unfortunate opportunity of finding the body, and relating to
the police the details of the previous day's encounter with
Blaney. Thus fingered, though innocent, Blaney takes his
pub-mate girlfriend, Babs (Anna Massey) into hiding with him
and convinces her of his innocence in a tender scene in a
city park. Only moments later as they go their separate
ways, is Babs strangled by this "Necktie Murderer." Of
course, we as the audience have seen the real killer in
action (Chapter 5), in a lingering, graphic, nearly
unwatchable scene of intensity, capped off by a typically
morbid touch from Hitchcock.
Blaney's buddy, Bob Rusk (a deliciously malevolent Barry
Foster) is the secret sexual psychopath who can only get his
jollies through the brutal treatment of women. It seems he
has been turned down several times by Mrs. Blaney's dating
service because of his proclivities - - though why he would
list masochism on his application is beyond me - - yet still
appears at Blaney office for an encounter with Mrs. Blaney
that will lead to her rape and murder. Barbara Leigh-Hunt is
perfectly cast as this damsel in distress, and once seen,
her graphic rape and murder linger in the mind. When Rusk
takes Babs into his apartment, though, Hitchcock shows
severe restraint by NOT allowing the viewer to witness yet
another graphic rape/murder at his hands; rather in a
remarkable reverse tracking shot, Hitchcock descends a
winding staircase traveling through to the outside street
filled with the best of Covent Gardens' fruits and
vegetables in one of numerous scenes in "Frenzy" pointing up
the sexual appetite versus the appetite of hunger.
The inspector assigned to the "Necktie Murderer" case,
cannot satisfy his hunger as we see in humorous scenes with
his wife (the droll Vivien Merchant), who is studying haute
cuisine and trying the results out at their dinner table.
Alec McCowen is properly deadpan as he attempts to eat such
dishes as a sea creature soup or a tiny quail au raison
(served with TWO grapes!). These distinctive dinner table
scenes serve not only to lighten the tone of the film but to
allow Vivien Merchant the sardonic chance to take credit for
solving the crimes.
"Frenzy" is a film to be appreciated by a mature audience
with a taste for intense suspense; a chilling concoction
cooked to perfection by the master talents of Alfred
Hitchcock and company.
That opening shot demonstrates just how remarkable
Universal's anamorphic widescreen transfer of "Frenzy"
really is: from the turgid tones of the Thames to the
brilliance of the clear blue sky to the dusty hues of the
buildings on the shore, all is clearly seen and
well-defined. Rarely does an imperfection mar the remainder
of the film, though in one particular scene, in the back of
a potato lorry does the film seem to be too dark. It is only
a momentary instance, though through the murkiness not much
can be made out. Fortunately it is not a pivotal moment in
that particular scene (chapter 11) which carries as much
action and black humor as other scenes. Fleshtones are
nicely rendered as are the muted tones of the interior
scenes. Even the clothing seems to reflect the imagery of
food: Bab's is clothed in a dress the color of a ripened
peach, while Blaney's ex-wife is clothed in a luscious Key
Lime green. All colors are faithfully presented. I saw nary
a trace of aliasing, the credit sequences are quite legible
and edge enhancement is not noticeable in the film's
faithful 1.85:1 aspect ratio.
For a 2.0 mono track, "Frenzy" delivers a pleasant
listening experience. At one point there may be a slight
wobble in the film's soundtrack, clocking in during Chapter
10 as Rusk takes his next victim up the staircase to his
apartment. One can also take in a French language "Frenzy,"
as the disc is equipped with a 2.0 mono French track as
well. Every word of Anthony Shaffer's (Sleuth, Death on the
Nile) dialogue is crystal clear. The film's score, by Ron
Goodwin, is at times martial, at times humorous and at all
times British. From the regal opening notes, the score often
alluded to the pomp and majesty of the compositions of
Elgar, best known stateside for his "Pomp and Circumstance."
It is a fitting score to Hitchcock's film, even if Goodwin
was not the first composer hired; as viewers find out in the
Special Features.
We find out in one of the better made for Universal video
documentaries, "The Story of "Frenzy", that Henry Mancini
was originally signed to write the score, and his
composition for the film's credit sequence is presented
within "The Story of Frenzy." (Universal must have had a
bout of lack of creativity on this title; where's the pun?
Where's the sardonic humor?) Mancini's score is nowhere near
the level of majesty and power heard in Goodwin's, and
fortunately Mancini's compositions were scrapped in favor of
Ron Goodwin's. Though it is not related in the documentary,
Mancini's score shows up in a later film: Tobe Hooper's
vampires from space epic, "Lifeforce" makes full use of this
great score, which is also set in London. "The Story of
Frenzy" is a very good addition to the disc, as it features
interviews with the major actors involved in the production:
Jon Finch (looking far better, and younger than in the
film), Anna Massey and Barry Foster all contribute excellent
memories of the filming. Screenwriter Anthony Shaffer
dispenses useful information, though what Peter Bogdonavich
is doing here is anybody's guess. The poster and production
photos are arranged nicely; if they tend to focus on the
more morbid aspects of the film, and Alfred Hitchcock's
trailer, featuring the master himself, is quite humorous,
though in rough condition.
For a fast-paced evening of Hitchcockian viewing, one
should find "Frenzy" on the bill-of-faire. It's fine mixture
black humor and gripping suspense maintains Hitchcock's
moniker as the "Master of Suspense," and bears up well with
repeated viewings. Although he was to direct only one more
film after this, the under-appreciated "Family Plot,"
"Frenzy"should be regarded as a new high for Hitchcock,
coming as it did on the heels of the commercial failures of
"Torn Curtain" and "Topaz." Universal has once again done a
great justice to the works of Hitchcock with its finely
honed presentation of "Frenzy."
 (5/5 - NOT included in
final score)
 (4.5/5)
 (3/5)
(3/5)
 (4/5,
NOT an average)
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