Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train.

In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Motion Picture Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".

Family Plot (1976) was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film with a dark tone but was pushed to a lighter, more comical tone by Hitchcock.

свернуть