A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missile Crisis, and then back to France to break up an international Russian spy ring.
The trickster Madam Blanche Tyler lures the elder millionaire Julia Rainbird that believes she is a spiritualist. After a séance, she discovers that Julia is tormented by her past, when she forced her sister and single mother Harriet to deliver her baby for adoption to avoid a family scandal. Julia promises the small fortune of ten thousand-dollar to Blanche if she finds her nephew and heir of her fortune using her phony powers. Blanche asks her boyfriend George Lumley, who is an unemployed actor working as cab driver, to investigate the whereabouts of Julia's nephew. Meanwhile, the greedy jeweler and collector Arthur Adamson kidnaps wealthy people with his girlfriend Fran to increase his collection of diamonds with the ransom. When George concludes that Arthur Adamson might be the heir of Julia Rainbird, the reckless Blanche gets in trouble with the kidnappers. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During the runaway car scene George is almost strangled by Blanche as she hangs on to his tie while flailing around in the back of the car. George's tie is clearly loose around his neck in several shots. When he crashes and climbs out of the car the tie knot is perfect. See more »
Isn't it touching how a perfect murder has kept our friendship alive all these years.
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The Universal logo does not appear anywhere on this film. See more »
"Family Plot" is remembered only for being Hitchcock's last film. The ending to his successful career could be have been more honorable. "Family Plot" is merely a light entertainment movie - nothing more, nothing less. But it works as that. The plot is enjoyable to follow and the members of the cast (especially William Devane) do a creditable job. But remember that the director was no longer at his peak, so don't expect anything in the lines of his masterpieces, like "Vertigo" or "Psycho". And John Williams' barely memorable score pales in comparison with Bernard Herrmann's masterful accomplishments.
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