Some purists claim you can't do this or that in movies: no voice over, no flashbacks, no out-of-POV-scenes. Only later in the film do we get to see the aftermath of the murder. For a moment, nothing happens and we are left with the merchants and trades people outside. Once at the top, instead of staying with them, the camera retreats down the stairs and back onto the street. We see the killer and his next victim enter a house, climb the stairs to an apartment on the second floor. In Frenzy, Alfred Hitchcock uses a similar technique – but it works a treat. Not only did I feel robbed of a character we had come to love over the course of the movie, I also felt robbed of what could have been a powerful dramatic scene. When the Coen brothers allowed the tragic climax of No Country For Old Men to unfold offscreen, a large part of the audience hated them for it. He breaks the rule of not showing a key dramatic story moment. This is the kind of thriller Hitchcock was making in the 1940s”Īt the most exciting moment in this movie, Hitchcock does something highly illegal. I agree with Roger Ebert, when he writes “FRENZY is a return to old forms by the master of suspense, whose newer forms have pleased movie critics but not his public. In my view, Hitchcock delivered his last true masterpiece with the film that brought him back to England in 1972: Frenzy. To me some of the English films had a greater sense of realism. Yet, there's something freshly unique and authentic about his British period that I found lacking in the American films. BACK TO ENGLANDĪfter all, Hitchcock's greatest successes were his American movies starring Cary Grant and Jimmy Stewart. Rarely do I hear anyone praise Hitchcock's personal favorite A Shadow Of A Doubt, let alone any of his earlier English films – apart from perhaps The 39 Steps. Invariably you'll hear them raving about Psycho, Rear Window or North By Northwest. Many film buffs love referring to Alfred Hitchcock.
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