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Frenzy$
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Ian Cooper

Print publication date: 2018

Print ISBN-13: 9781911325369

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781911325369.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 20 September 2021

The Starter

The Starter

Chapter:
(p.11) The Starter
Source:
Frenzy
Author(s):

Ian Cooper

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781911325369.003.0002

This chapter presents a synopsis and overview of Alfred Hitchcock's Frenzy (1972), which is perhaps his most nakedly autobiographical film. The director wanted to make a film told from the point of view of a psycho killer. Hitchcock's fascination with murder is well-documented but he had a distinct preference for a certain kind of English murder. He certainly seems to have had little time for the savagery of American murderers, possibly due to the fact that they lack that all-important veneer of respectability. Hitchcock's preferred killers were unassuming ‘little men’ whose carefully cultivated aura of normality masked a murderous dark side. Thus, he was particularly drawn to an unholy trinity of genteel, polite yet brutal killers, John Reginald Halliday Christie, John George Haigh, and Neville Heath. Hitchcock would go on to consider a number of writers for his cherished serial killer project. The chapter also looks at Hitchcock's Torn Curtain (1966) and Topaz (1969). It also considers his interest in Arthur La Bern's novel about a sex killer, Goodbye Piccadilly, Farewell Leicester Square, which was published in 1966 and forwarded to the director by his UK agent.

Keywords:   Alfred Hitchcock, Frenzy, autobiographical film, psycho killer, English murder, serial killers, John Reginald Halliday Christie, John George Haigh, Neville Heath, Arthur La Bern

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