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Goodbye soon became Frenzy, with a screenplay by playwright Anthony Shaffer.
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Arthur La Bern’s 1966 novel Goodbye Piccadilly, Farewell Leicester Square, detailing the exploits of a serial killer in London who raped and murdered young woman à la a modern-day Jack the Ripper, was just such a book.
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After Torn Curtain and Topaz performed so poorly, Hitchcock was in a professional slump and desperate for material that excited him. Prologue: Over the Atlantic and Down the ThamesĬhapter One: Hitchcock in 1970: The Lion in WaitingĬhapter Two: Property Values: The Hitchcock Standards and the First “Frenzy”Ĭhapter Three: Working with Writers: Hitchcock and the Preparation of the ScenarioĬhapter Four: Working with Another Sleuth: Hitchcock and Anthony ShafferĬhapter Five: Brief Inter-title: Looking for a Lost LondonĬhapter Six: Cattle Calls: Ruminating over a CastĬhapter Seven: The 13-week Production: Mornings and Afternoons on the SetĬhapter Eight: Shooting the Signature Sequences, Part I: Hitchcock as a Master of MontageĬhapter Nine: Shooting the Signature Sequences, Part II: Hitchcock as the master of Mise-en-scene and the Moving CameraĬhapter Ten: Brief Inter-title: Looking for a Lost Partner OR “Hitchcock in Love”Ĭhapter Eleven: Adventures in Post-productionĬhapter Twelve: Releasing the Film: Creating a Frenzy around FrenzyĬhapter Thirteen: Critical Acclaim and Box-office RedemptionĬhapter Fourteen: The Response from the AcademyĬhapter Fifteen: Hitchcock and Women Hitch and His WomenĪfter a string of flops and in need of a hit, Alfred Hitchcock returned to his native London in 1971 to make Frenzy, his darkest film since Psycho.
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Featuring original material relating to the making of Frenzy and previously unpublished information from the Hitchcock archives, this book will be of interest to film scholars and millions of Alfred Hitchcock fans. Foery also discusses the reactions to Frenzy by critics and scholars while examining Hitchcock’s-and the film’s-place in film history forty years later. While there are other books on the production of an individual Hitchcock film, none go into as much detail, and none combine a history of the production process with an ongoing account of how this particular film relates to Hitchcock’s other works. In Alfred Hitchcock’s Frenzy : The Last Masterpiece, Raymond Foery recounts the history-writing, preproduction, casting, shooting, postproduction, and promotion-of this great work. But unlike those previous works, Frenzy also featured some elements that were new to the master of suspense’s films, including explicit nudity, depraved behavior, and a brutal act that would challenge Psycho ’s shower scene for the most disturbing depiction of violence in a Hitchcock film. Like The 39 Steps, Saboteur, and North by Northwest before, Frenzy repeated the classic Hitchcock trope of a man on the run from the police while chasing down the real criminal. The film he came to shoot there would mark a return to the style for which he had become known and would restore him to international acclaim.
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In 1971, the depressed director traveled to London, the city he had left in 1939 to make his reputation in Hollywood. After an unparalleled string of artistic and commercial triumphs in the 1950s and 1960s, Alfred Hitchcock hit a career lull with the disappointing Torn Curtain and the disastrous Topaz.