Word: psychos
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...into his apartment and his life. His exwife, his son, his parents, even his psychiatrist-all appear to Hibben in his delirium, prodding him inexorably toward the unpleasant Krafft-Ebing revelation concealed behind that coy yellow band. In the denouement there are traces both of Psycho and the Roger Ackroyd device: Are you sure you should trust the narrator? But Ellin conceals his key surprise in a phonetic note written by a distracted Mexican housemaid: Noscool sonic comic loc. Work that out and the solution may fall into place. Since the note appears on page 21, well before the band...
...technical skills and elevate them to levels of high art. Hitchcock is a popular craftsman, and what matters to him are the tricks which make audiences respond with pleasure. Judged appropriately, by the box-office tallies, Frenzy may be the first film of any worth made by Hitchcock since Psycho...
Hitchcock doesn't develop the character far enough to necessitate analysis, but it is the validity of his characters' concerns, and not some mysterious cinematic sense, that first arouses our attention. In Psycho, the treatment of such topics as transvestitism and necrophilia were at the same time so clinical in content and so horrific in presentation as to make voyeurs of us all. In Frenzy, the thrills aren't everything: they are part of a context which breeds frustration and then violence...
...street. Outside the bustle of the Picadilly marketplace continues, but our attention focuses on the rose-lined corridors of the flat where the nice young fruit salesman who lives with Mom is probably murdering the latest of many young brides. (The shot is a copy of one in Psycho--but there the only purpose was to hide the killer's true identity...
...unsuccessfully trying to prove that she was indeed the Grand Duchess Anastasia. The first two acts, using music by Tchaikovsky, pro vide a touching but repetitive romantic-ballet picture of Anastasia's life prior to the October revolution. The final act is a jarring change to a heavily psycho logical modern-dance style (set to a dreary electronic introduction and Martinu's sweet and sour Fantaisies Symphoniques). A distraught Anna, apparently living in a mental ward, relives the past as she imagines or remembers it. As to whether Anna was an impostor, no one knows for sure, including...