Frenzy (1972)

1970’s London is set on edge when it appears they have a serial killer and rapist on the loose, dubbed by the papers as the “Necktie Murderer”. The name makes sense since the killer has a penchant for strangling his victims with his fashionable ties after he viciously rapes them. Anyway, the viewer is soon introduced to Richard Blaney, an ex-RAF officer who’s now a pissy bastard with a drinking problem. Richard is the good guy, though his character is such a whiny sort it’s really hard to like the guy. After getting fired from his bartending job, Richard decides to hit his ex-wife up for a bit of cash. The ex runs a successful dating service and Richard stops by the offices to see her. There he is seen arguing rather violently with his ex by the secretary who ultimately decides to leave the two alone. After having dinner with his ex-wife, Richard sleeps in a homeless shelter where he discover his ex has slipped him some extra cash in his coat pocket. Feeling guilty, he decides to return the cash the next day back at her office. Unfortunately, Richard’s ex-wife has just become the necktie murder’s latest victim and thanks to the bit of a scene he caused the previous day, he’s now become the prime suspect in the murders. The rest of the film is the classic “framed suspect trying to prove his innocence” bit while the killer keeps on a raping and strangling with his handy tie. Only it’s so much more than that.

Typically considered Hitchcock’s most violent film, it’s surprising that a film with only one onscreen death can get such a label. However, the initial rape and strangulation of Blaney’s ex is so extremely graphic and hard to watch, there is no titillation to be found whatsoever. After forcing the viewer to take part in such a brutal crime, notice how during the second murder Hitchcock’s camera pans “away” from the crime rather than give you another front seat view to the slaughter. This showed a terrific use of restraint when most directors would have just beaten you over the head with another needless graphic death scene. The trademark black humor is also very much in evidence, especially the scene of the killer retrieving a possibly incriminating lapel from a victims Riga mortised hand, and the scenes of a poor police detective who is forced to eat his wife’s “gourmet” cooking. Terrific stuff. I also got a kick out of Hitchcock’s portrayal of marriage, with almost every married man in the film being completely unhappy with his domineering wife. Ain’t that the truth, huh, Hitch? The acting is solid by all involved, especially the killer who reminded me of an evil Richard Dawson. Also, watch for one of the best ending lines ever uttered in a film, great stuff to be had there. Highly recommended.