Alfred Hitchcock’s first film made in America, with producer David O. Selznick of Gone with the Wind fame, sealed the director’s fate as an established and successful filmmaker. Rebecca won the Best Picture Oscar in 1940, even though Hitchcock was overlooked as Best Director. This is not to say the film is without flaws. Joan Fontaine is supposed to play the innocent, naïve female lead, but she always seems much too old and sophisticated for the part, even though she does her best to seem demure. Aside from that, the film is a great thriller…one that will stand the test of time as a solid Hitchcock thriller. Laurence Olivier is pretty perfect as Maxim de Winter—we buy him as a tormented man—and Judith Anderson shines as the evil, sinister Mrs. Danvers. And, of course, Hitchcock’s camera captures the right tone and mood from the Daphne Du Maurier novel, allowing us to see Manderlay as a place of both happiness and nightmares.

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When director Alfred Hitchcock shot Frenzy, he was in his early 70s and was at the end of a filmmaking career that began in the 1920s in England. After Hitchcock left Britain behind for a career in America (his first film in the U.S. was 1940’s Rebecca), he rarely looked back. Frenzy is a return to London, with the film shot there and starring an all-British cast. This movie does not boast any glitzy movie stars or any of the Hitchcock elegance of many of his previous films, but displays a rather dark, violent side unlike anything the director had shot before. The finished product results in a taut and intelligent thriller, one of the best of Hitchcock’s career and definitely the best of his later films. The movie begins with a body found, washed ashore in the Thames River. The corpse has a necktie around its neck, identifying the murder as another “necktie” serial killing. Through a series of twists and wrong turns, an innocent man is accused of the murders, which has been a common Hitchcock plot line over the course of his career (The Wrong Man and North by Northwest, in particular). The difference here is that early on in the film, the audience becomes privy to who is the guilty party and who is being framed. Knowing this before most of the cast, we are left squirming in our seats, waiting for the characters to catch up with what we already know. Also, unmasking the villain towards the beginning of the film allows the audience to focus less on plot and more on character and the cinematic style that makes Frenzy a magnificent thriller.

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