Did Hitchcock realise how much Bob Rusk becomes a self-portrait? The serial killer’s simultaneous fascination with and distaste for his women victims is mirrored in the way Hitchcock chooses to shoot those scenes. There’s a leering quality to the shots of the distorted faces of the strangled women, an unsettling pleasure. Despite the technical flourishes this is minor Hitchcock, a reminder that the constraints of Hollywood censorship may have been a blessing for his art. And we can be thankful that this was not his last film, but that the light-spirited jeu d’esprit of Family Plot was his final gift to cinema.
by Ian Johnston | Source: Universal DVD
15 Dec 2005 12:01 PM | Submit Comment
