Strangulation as art in Hitchcock’s penultimate picture.
"Lovely, lovely”; Barry Foster is The Necktie Killer.
"The Governor" shooting in Covent Garden.
There is little hope in FRENZY, reflecting a world which is irrevocably fallen; women are harridans or naive lambs for the slaughter, while the men are either brutes (the hero Blaney is an implied wife-beater) or simpletons telling rape jokes over the bar, and the nicest people end up dead. Somehow the world seems to be at the end of its tether, where human beings are reduced to the same level as food and waste, and abandoned - as the rape scene suggests - by any rationale. In fact, FRENZY can be viewed as the culmination of a hostility against the world that Hitchcock begun back in the 1920s.