Well worth a look if you have the chance.
the whole cast is:::
Jon Finch as Richard Ian "Dick" Blaney
Alec McCowen as Chief Inspector Oxford
Barry Foster as Robert "Bob" Rusk
Billie Whitelaw as Hetty Porter
Anna Massey as Barbara Jane "Babs" Milligan
Barbara Leigh-Hunt as Brenda Margaret Blaney
Bernard Cribbins as Felix Forsythe
Vivien Merchant as Mrs. Oxford
Michael Bates as Sergeant Spearman
Jean Marsh as Monica Barling
Clive Swift as Johnny Porter
Madge Ryan as Mrs. Davison
Elsie Randolph as Gladys
Gerald Sim as Solicitor in pub
Noel Johnson as Doctor in pub
John Boxer as Sir George
George Tovey as Neville Salt
Jimmy Gardner as hotel porter
Rita Webb as Mrs. Rusk
Michael Sheard as Jim, Rusk's friend in pub
Alfred Hitchcock's cameo appearance can be seen (three minutes into the film) in the centre of a crowd scene, wearing a bowler hat. Teaser trailers show a Hitchcock-like dummy floating in the River Thames and Hitchcock introducing the audience to Covent Garden via the fourth wall.
Michael Caine was Hitchcock's first choice for the role of Rusk, the main antagonist, but Caine thought the character was disgusting and said "I don't want to be associated with the part." Foster was cast after Hitchcock saw him in Twisted Nerve (which also featured Frenzy co-star Billie Whitelaw). Vanessa Redgrave reportedly turned down the role of Brenda, and Deep Red?'?s David Hemmings (who had co-starred with Redgrave in Blow-Up) was considered to play Blaney. Helen Mirren, who later in life played a film version of Hitchcock's wife Alma Reville in Hitchcock, met with the director and eventually turned down the role of Babs Milligan, and years later regretted it.
I think that this is such a thrilling enjoyable Hitchcock movie 2 watch, I think that Alfred Hitchcock is such a brilliant director.........
Frenzy ranked #33 on Variety's list of the 50 Top Grossing Films of 1972. The movie had total takings of $4,809,694 at the domestic box office (the United States and Canada), which is approximately $27,209,017 in today's funds.
The film was the subject of the 2012 book Alfred Hitchcock's Frenzy: The Last Masterpiece by Raymond Foery
After a pair of unsuccessful films depicting political intrigue and espionage, Hitchcock returned to the murder genre with this film. The narrative makes use of the familiar Hitchcock theme of an innocent man overwhelmed by circumstantial evidence and wrongly assumed to be guilty. Some critics consider Frenzy the last great Hitchcock film and a return to form after his two previous works, Topaz and Torn Curtain.
3 Henrietta Street in Covent Garden was the flat of the 'Necktie Strangler', Robert Rusk
Hitchcock set and filmed Frenzy in London after many years making films in the United States. The film opens with a sweeping shot along the Thames to Tower Bridge, and while the interior scenes were filmed at Pinewood Studios, much of the location filming was done in and around Covent Garden and was an homage to the London of Hitchcock's childhood. The son of a Covent Garden merchant, Hitchcock filmed several key scenes showing the area as the working produce market that it was. Aware that the area's days as a market were numbered, Hitchcock wanted to record the area as he remembered it. According to the making-of feature on the DVD, an elderly man who remembered Hitchcock's father as a dealer in the vegetable market came to visit the set during the filming and was treated to lunch by the director.
No. 31, Ennismore Gardens Mews, was used as the home of Brenda Margaret Blaney during the filming of Frenzy.
During shooting for the film, Hitchcock's wife and longtime collaborator Alma had a stroke. As a result, some sequences were shot without Hitchcock on the set so he could attend to his wife.
The film was the first Hitchcock film to have nudity (if you don't count Psycho, which featured out-of-focus breasts in one shot of the shower scene). There are a number of classic Hitchcock set pieces in the film, particularly the long tracking shot down the stairs when Babs is murdered. The camera moves down the stairs, out the doorway (with a rather clever edit just after the camera exits the door which marks where the scene moves from the studio to the location footage) and across the street where the usual activity in the market district goes on with patrons unaware that a murder is occurring in the building. A second sequence set in the back of a delivery truck full of potatoes increases the suspense as the murderer Rusk attempts to retrieve his tie pin from the corpse of Babs. Rusk struggles with the hand and has to break the fingers of the corpse in order to retrieve his tie pin and try to escape unseen from the truck.
The part of London shown in the film still exists more or less intact, but the fruit and vegetable market no longer operates from that site, having relocated in 1974. The buildings seen in the film are now occupied by banks and legal offices, restaurants and nightclubs, such as Henrietta Street, where Rusk lived (and Babs met her untimely demise). Oxford Street, which had the back alley (Dryden Chambers, now demolished) leading to Brenda Blaney's matrimonial agency, is the busiest shopping area in Britain. Nell of Old Drury, which is the public house where the doctor and solicitor had their frank, plot-assisting discussion on sex killers, is still a thriving bar. The lanes where merchants and workers once carried their produce, as seen in the film, are now occupied by tourists and street performers.
Novelist La Bern later expressed his dissatisfaction with Shaffer's adaptation of his book.
Henry Mancini was originally hired as the film's composer. His opening theme was written in Bachian organ andante, opening in D minor, for organ and an orchestra of strings and brass, and was intended to express the formality of the grey London landmarks, but Hitchcock thought it sounded too much like Bernard Herrmann's scores. According to Mancini, "Hitchcock came to the recording session, listened awhile and said 'Look, if I want Herrmann, I'd ask for Herrmann.'" After an enigmatic, behind-the-scenes melodrama, the composer was fired. He never understood the experience, insisting that his score sounded nothing like Herrmann. In those days, Mancini had full music measurements sheet and he had to pay all transportation and accommodations himself. In his autobiography, Mancini reports that the discussions between himself and Hitchcock seemed clear, he thought he understood what was wanted, but he was replaced and flew back home to Hollywood. The irony was that Mancini was now being second-guessed for being too dark and symphonic after having been criticized for being too light before. Mancini's experience with Frenzy was a painful topic for the composer for years to come.
Hitchcock then hired composer Ron Goodwin to write the score after being impressed with some of his earlier work. Goodwin's music had a lighter tone in the opening scenes, and scenes featuring London scenery, while there were darker undertones in certain other scenes.
The second to last feature film of his extensive career, it is often considered by critics and scholars to be his last great film before his death. The screenplay by Anthony Shaffer was based on the novel Goodbye Piccadilly, Farewell Leicester Square by Arthur La Bern.
The film stars Jon Finch, Alec McCowen, and Barry Foster and features Billie Whitelaw, Anna Massey, Barbara Leigh-Hunt, Bernard Cribbins and Vivien Merchant. The original music score was composed by Ron Goodwin.
The film was screened at the 1972 Cannes Film Festival, but was not entered into the main competition.
The plot centres on a serial killer in contemporary London. In a very early scene there is dialogue that mentions two actual London serial murder cases: the Christie murders in the early 1950s, and the Jack the Ripper murders in 1888.
Frenzy was the third film Hitchcock made in Britain after he moved to Hollywood in 1939. The other two were Under Capricorn in 1949 and Stage Fright in 1950 (although there were some interior and exterior scenes filmed in London for the 1956 remake of The Man Who Knew Too Much). The last film he made in Britain before his move to America was Jamaica Inn (1939).
I think that this is such a fantastic British thriller-psychological horror film, to watch as the director keeps you on the edges of your seats throughout this movie.....it is such a gripping movie 2 watch it is such a thrilling movie 2 watch with a brilliant cast throughout this movie.......
The story of a serial rapist & murderer who likes to finish his victims with a neck tie. The London public & police target this low life Londoner & miss the clue the killer is someone more suave & polished.
Despite hitch's age nearly 80 he was master behind the camera & due to the change in censorship he stepped up the terror. A well made thriller & a great story.
Viewed this on 23/6/15
This could be the very best film that Hitchcock has ever made or at least in par with Psycho(my favourite). Hitchcock uses never seen before elements into this film like nudity, uncensored violence and most of all real shooting locations and modern camera techniques making the visuals striking and more believable compared to his other close confined films like Rear Window. This film really requires nudity and it shows how good Hitchcock could have done had they allowed him to show the shower scene in Psycho the way he shot it. It's violence and Hitchcock's tread into much darker material is essential because it adds much psychological tension to the film. The score is also great. The most interesting storyline in the film is a comic relief story of the investigating officer and his wife. The story lets us guessing and tightening things even as the film goes to the very near. The performances are also spot on with Barry Foster giving an unforgettable performance and equally good is Alec McCowen who only comes into the latter half of the film. However, if I asked, I would say there's one small problem. The film shows women in a bad light in generally, they are all either nude and killed or they are beings that fail to understand the truth, like the secretary of Ms Blaney or the wife of Blaney's friend or like the investigator's wife.
One of Alfred the greats final films is a real sleazy treat for fans of his more exploitative side. Anyone wanting to know exactly why the likes of Dario Argento is often compared to old Hitch then this needs to be seen. What's best about this little gem is the fact that you can tell the old guy was having a bit of fun with it, he knows it isn't going to be his best or even close, so he fills this with nice touches of black humour, tonnes of bad language, and plenty of suspense. This is very much a middle of the pile addition, but the cast is good, it's very well structured, and it never allows itself to be taken seriously. Overall a good sit that is never boring to watch.