Film: Frenzy

"Mr. Rusk, you're not wearing your tie."
Inspector Oxford

The penultimate film of Alfred Hitchcock, Frenzy is a 1972 film adapted by Anthony Shaffer from Arthur La Bern's novel Goodbye Piccadilly, Farewell Leicester Square.

Our "hero" Richard Blaney is down on his luck; just as he's fired from his job at a pub, his estranged wife Brenda is murdered by a neck-tie wielding Serial Killer. Because of a witness's mistake, Blaney is now the prime suspect. Only his former co-worker, Barbara Jane "Babs" Milligan, and his former army buddy, Johnny Porter, believe his innocence. When he's left without his allies, Richard is left to the mercy of the police. Fortunately, one investigator, Oxford, finds the smoking gun that'll save Richard from prison.

This film features examples of:

  • Alliterative Name: Robert Rusk. There's also Brenda Blaney.
  • Amicable Exes: Richard and Brenda. Although they aren't all that amicable—Richard in particular is nasty and bitter. But still, Brenda offers to loan him some money.
  • Bad Samaritan/Big Bad Friend: With nowhere else to turn, Richard hides out in Bob Rusk's apartment, whereupon Bob promptly frames him for Bob's crimes.
  • Black and Grey Morality: The hero is a Self-Centered Jerkass, while the villain]is an Ax-Crazy, sociopathic rapist Serial Killer.
  • Black Comedy: Some very, very dark comedy in this movie.
    • Note the scene where Rusk is bouncing around in a moving potato truck, scrambling to remove his tie pin from the clutches of a corpse in rigor mortis. The potato truck takes a curve, and the corpse's foot swings up and smacks Bob in the face.
    • In the opening scene, a politician's speech is interrupted by the nude body of a woman, strangled with a tie, washing up out of the river. The politician's response is "I say, that's not my club tie, is it?".
    • Mrs. Oxford snapping sticks of crisp bread in two as her husband talks about how the killer had to break a corpse's fingers.
  • Black Comedy Rape
    Solicitor in Pub: We were just talking about the tie murderer, Maisie. You'd better watch out.
    Maisie the Barmaid: [salaciously] He rapes them first, doesn't he?
    Solicitor in Pub: Yes, I believe he does.
    Doctor in Pub: Well I suppose it's nice to know that every cloud has a silver lining.
  • Blond Guys Are Evil/Evil Redhead: Rusk has carroty blond hair.
  • Calling Card/Weapon of Choice: The humble necktie.
  • Catch Phrase: "You're my type of woman."
  • Clear My Name: Richard is very insistent about this.
  • Cordon Bleugh Chef: Given the choice between wading through grim murder scenes and tasting his wife's experimental cuisine—pig's feet, fish head soup, etc—Oxford always opts for the former.
  • Creator Cameo: Hitchcock as usual, this time in the crowd looking at the body in the river.
  • Cruel and Unusual Death: Brenda's murder remains one of the most horrific, disturbing depictions of violence in film history.
  • Darker and Edgier: Hitchcock's only film to get an R rating. This might well be because it was the first film Hitchcock made after the Production Code had been abandoned and ratings were instituted. If he could have filmed Janet Leigh naked he probably would have.
  • Dead Man's Chest: The killer hides a body in a sack that he dumps in the back of a lorry full of sacks of potatoes. He then realises that his tie pin is still clutched in the dead woman's hand and has to retrieve it from the back of the moving lorry.
  • Dies Wide Open: And with tongue sticking out.
  • Digital Destruction: One reviewer of DVDs and Blu-Ray Discs received a screener copy of the Alfred Hitchcock: The Masterpiece Collection Blu-Ray set, and noticed that this movie's original opening credits sequence had disappeared in favor of one riddled with misspelled names. After his critiques on the set became widespread among film fans, Universal delayed its retail release by about one month, to correct this and other errors.
  • Dramatic Irony: Filled to the brim with it. A lot of it derives from the audience knowing the killer's identity.
  • Driving a Desk: Very noticeable as Babs and Richard ride in a taxi.
  • Drop Dead Gorgeous: A naked victim of the killer floats in the river in the film's first minutes.
  • Enemy Eats Your Lunch: Frugal or not. Bob strangles a woman to death, then picks up her apple from her desk and eats it.
  • Even Bad Men Love Their Mamas: Bob Rusk does!
  • Fan Disservice: This is the first and only Hitchcock film to feature nudity. Not in a very inviting context, though.
  • Faux Affably Evil: Bob Rusk, when he's not killing people.
  • Fingore: One of Rusk's victims managed to grab his pin, forcing him to break her fingers to get it back. Even though she's dead, it's pretty wince-inducing.
  • A Glass in the Hand: Dick does this while he's out with Brenda.
  • Happily Married: The Oxfords despite Mrs Oxford's new hobby.
  • Info Dump: A rather pointless scene where two starchy old guys at a pub chat about how The Sociopath thinks and behaves.
  • Jerkass: Richard is such an unpleasant person that he almost deserves getting wrongfully convicted of murder. One wonders what Babs sees in him.
    • His (ex-)boss at the pub, Forsythe, is a nasty piece of work as well.
  • London Town
  • The Matchmaker: Brenda's job.
  • Monster Misogyny: Chief Inspector Oxford sums up the Necktie Killer/Bob Rusk this way, saying that serial sex-killers "hate women, and are mostly impotent." Richard Blaney himself is something of a misogynist, implied to be because of his failed relationship with Brenda.
  • Nominal Hero: Richard is only interested in saving his own skin.
  • Not Helping Your Case: After Blaney is wrongly arrested, he acts out and ultimately escapes from prison. He returns to Rusk's apartment and beats up what he assumes to be Rusk sleeping, but it's the corpse of Rusk's newest victim. To add insult to injury, it's in front of Oxford; fortunately, Rusk shows up in a way to finally implicate himself.
  • Nothing Is Scarier: Rusk's murder of Babs occurs offscreen.
  • Oh, Crap: Rusk, when he's finally caught red-handed by Oxford.
  • The Oner: Three of them, all pretty chilling:
    • After Brenda's death, the camera stays on the street as a woman enters the building, followed by about 30 seconds of dead air until she screams, having discovered the body.
    • Rusk invites Barbara into his apartment, after we already know he's the killer. The camera again remains outside, then retreats down the stairs and out of the building, where several people walk by oblivious to the murder happening right next to them.
    • Blaney's trial is viewed from behind soundproof doors, with the viewer only able to hear the occasional bit of dialogue when someone opens them. They swing shut just before the sentence is read, followed by Blaney screaming "IT'S RUSK!" loudly enough to be heard through them.
  • Police Are Useless: Subverted; Oxford is the only one to suspect Richard's innocence from the start. One of very few subversions of this in Hitchcock's work, as he was famously afraid of cops.
  • Rape as Drama: Rusk rapes his victims before murdering them.
  • Running Gag: The terrible cooking of Inspector Oxford's wife.
  • Serial Killer
  • Sexless Marriage: It's obliquely implied that a lack of intimacy was one of the reasons the Blaney marriage failed. Richard says of Brenda's matchmaking job: "If you can't make love, sell it!"
  • Signature Item Clue: Narrowly averted. A murder victim grabs Rusk's distinctive cross pin at the last minute. He notices only after dumping the body. He retrieves the pin before anyone else can find it, but the trouble he has in retrieving it creates new, albeit less definite, evidence
  • Spanner in the Works: Barbara steals Rusk's tiepin as he kills her; his attempt to pry it from her cold dead hands helps provide the evidence to finally send him away.
  • Verbal Irony: Rusk telling Babs "You've got your whole life ahead of you" as he lures her to her death.
  • What Could Have Been: The original idea for the project featured as the protagonist a handsome, charming young body-builder who happens to be a serial killer. It was to be set in New York City and told from the POV of the murderer, and to feature nudity and violence beyond anything ever shown on screen at that time (the 1960s). After the murderer kills twice the climax was to come when NYC police set up a trap with a policewoman posing as a potential victim. The project, tentatively titled Kaleidoscope Frenzy, was rejected by Universal and then abandoned by Hitchcock, who later reworked some of the elements into the later Frenzy.