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Frenzy was the first film Hitchcock had shot entirely in his native Britain since Jamaica Inn (1939), and many contemporary critics used that fact to account for what seemed to them a glorious return to form after a string of Hollywood duds (Marnie, Torn Curtain, Topaz). Hitchcock specialists are often less wild about it, judging the detective plot mechanical and the oh-so-English tone insufferable. But at least three sequences rank among the most skin-crawling the maestro ever put on celluloid. There is an astonishing moment when the camera backs away from a room in which a murder is occurring, down the stairs, through the front door and then across the street to join the crowd milling indifferently on the pavement. There is also the killer's nerve-wracking attempt to retrieve his tiepin from a corpse stuffed into a sack of potatoes. Finally, there is one act of strangulation so prolonged and gruesome it verges on the pornographic. Was the veteran film-maker a rampant misogynist as feminist observers have frequently charged? Sit through this appalling scene if you dare and decide for yourself. --Peter Matthews