Family Plot

Get ready for the tricks and suspense you've seen in other films, but be sure to get the commentary on DVD. Barbara Harris looks just like Hitchcock's daughter, as you'll see from the interview, just a younger version. A extra lesson: You will never get a facelift once you see the interviews with Karen Black. If she had allowed herself to age naturally, she would have been so much more attractive than the gargoyle you'll wince at seeing.

Here's a treat: the winding mountain road and no brakes scenario as never you've seen it. I loved the comic touches and the risqué language. It is indeed a unique film. If you happen to love the mountain of California and San Francisco, you'll also love the cinematography. The stills are mostly of Hitchcock in the graveyard, which makes you wonder if he wasn't a little clairvoyant himself. The whole movie centers around a phony psychic and her attempt to cheat an old woman out of her money.

In our cynical world of today, you'll expect them just to dress Dern up as the missing heir, but nope, they play it straight. Having read of Hitchcock's misogyny, you'll appreciate the cuts and slices between the lovers. Both pairs of grifters have their own love thing going. Rather touching to see the fidelity among the crooks. Inspired writing, indeed.

Hitchcock did have a pacemaker installed while this movie was being made, so you have to wonder if his own thoughts of his impending death might have caused as much concentration on the graveyard scenes. Buy the DVD; the added features will make the movies itself 3 times more interesting.

This film gets a bad rap because it was not a suspenseful blockbuster in the vein of "Psycho" and "The Birds". The fact is, is that after Rod Taylor and Tippi Hedrin did battle with seagulls in 1963, Hitchcock never again approached the heights of a major director and he dramatically slowed down his film output.

Still, this movie, along with 1964's "Marnie" and '72's "Frenzy" represent a decent effort by Hitchcock to stay current and hip with modern audiences. That he was still directing films at all in the 1960s and 1970s is quite remarkable for a man whose film work began in the silent era.

"Family Plot" is a fun, neat little comedy-thriller much akin to the NBC Mystery Movies of that era... i.e., "Columbo", "McMillen and Wife". Blanche is a phony psychic who, along with her reluctant boyfriend Frank, played hilariously by the underrated Bruce Dern, run afoul of big time crooks Karen Black and William Devane.

The plot does get a bit convoluted, but Hitchcock was smart enough to lay off the heavy-handed dictatorial directorship that categorized his earlier work and let the actors and their characters move the plot along. Unlike Cary Grant's Thornhill in "North By Northwest", we care about Blanche and Frank because they really are like us, the viewer. As much as we all adored the women in Hitch's films... Grace Kelly, Tippi Hedren, Kim Novak, and wanted to be like the men,Cary Grant, Jimmy Stewert, Ray Milland, Rod Taylor, Farley Granger, etc., none of these characters were remotely like US, and in his dotage, Hitchcock was still keen enough to realize that Cary Grant in 1956 was an admirable figure walking down the street... in 1976 he was apt to be pointed at and laughed about. Hitch knew INSTINCTIVELY that the gray suit and slicked back hair era was gone forever. In this film, it doesn't even look like Dern showers.

That's part of the charm and why it was so refreshing, at this late date, to go into the movie theater and enjoy an Alfred Hitchcock film without having to sigh that it was all about nostalgia. This film, in his humorous approach has much in common with "The Trouble With Harry" than "Psycho" or "Shadow of a Doubt".

Hitch didn't go out with a classic, that's for sure, but he went out with a modern film that showed he could still produce an entertaining flick. That was all he was ever about anyway. No higher praise is needed.

"Murder can be fun", said Hitchcock to the then-rising composer John Williams, unsure about the use of playful theme for ominous situations. Well, after watching "Family Plot" again, I would say that anything handled by Hitchcock can be fun. And it is not surprising that the original novel titled "The Rainbird Pattern" saw its dark material turned into a lighthearted comedy by Ernest Lehman's inspired writing and Hitchcock's wicked sense of humor, in the same vein than "To Catch a Thief" and "The Trouble With Harry". And I think this says a lot about a fascinating mix of self-confidence and humility that -I guess- only experienced directors can demonstrate at the twilight of their career.

And I'm convinced that it took the two 60's misfires "Torn Curtain" and "Topaz" to put Hitchcock on the right track again and allow him to make movies that would be more fitting swan songs. So Hitchcock was back to his roots (in every meaning of the word) with the wonderful "Frenzy", a thriller certainly not devoid of macabre humor. Indeed, who can ever forget the villain's struggle to get his pin off the hand of his last victim, hidden in a bag of potatoes, and the whole action set in a moving truck? Frenzy was a legitimate thriller but its darkly comedic undertones worked as the perfect transition to a more relaxed and upbeat "Family Plot", definitely a comedy, with a good balance of thrills and suspense.

The film starts in a wealthy elderly woman's house, Blanche Tyler, a psychic in trance, tries to communicate with the woman's sister, using different voices, howling, screaming, giving such an over-the-top performance we suspect she belongs to the fraudulent side of the business, but it takes some great acting to perform the bad one, and Barbara Harris, whenever she's in that state, is a delight to watch, she'd be even funnier in a similar scene later with her boyfriend. The comedy is integral to the film's appeal because the opening is extremely talkative and provides a vital flow of information and Harris' lively and funny performance catches our eyes, and inevitably our ears and our mind.

So, it all comes down to the woman asking Blanche to find her sister's illegitimate son given for adoption, so she can clear her conscience and allow him to inherit her fortune; in exchange, Blanche will receive ten thousand dollars (and I just love Harris' cute response when she tries to pretend that money doesn't matter). Blanche is a small-time fraud and her boyfriend George is a cabdriver and wannabe actor, so the reward means a lot. But what an unlikely, non-glamorous, goofy yet charming couple to lead a Hitchcock film! Still, the chemistry between them, with all the talks about the 'plot', sex and their job, feels genuine and real.

There is another couple though in the film, more in-line with the classy and icy correctness we're used to deal with Hitch. A jeweler (David Levane) and his girlfriend Fran (Karen Black) specialized in kidnapping dignitaries and rich figures, leaving them up in exchange of precious gemstones. They hide their victims in a cellar and are so professional they make impossible any identification. The first transition from Blanche and George to Arthur and Fran is abrupt and disconcerting (although creatively done) but once we get it that the film centers on the two couples, the pros and the small-time crooks, we know where the story is going, two plots coming across each other, in other words: a confrontation.

The thrill in "Family Plot" is to see these couples getting closer to each other, and even play a sprinkled-sprinkler game when George's lousy attempt to pass a lawyer raises the suspicion of Adamson's former accomplice (he's obviously the lost heir, the only way the two plots would converge). So the cat and mouse's role are reversed and Fran and Arthur spy on George and Blanche, thinking they want the reward for their capture. Which would lead to the first life-threatening sequence with a high-speed descent in a mountain road, and as much I enjoyed it, I can't get over the hilariously distorted face of George, crushed under Blanche's shoe, while she tries to climb her way out of the vehicle.

Just like the plot swings back and forth between two couples that couldn't have been more different, it does the same thing with thrills and comedy and the result is savorous and entertaining. Hitchcock also provide some pretty memorable moments: Adamson delicately taking a lint off a cop's suit, Fran putting parsley in the hostage's plate, a dazzling aerial view on a cemetery and a great kidnapping scene in a church where a bishop is taken away without any of the people reacting. Adamson knew that church-people are so polite and inhibited they wouldn't react, and we believe him. This level of confidence echoes Hitchcock's, he doesn't go to intricate and lengthy extremes to get a specific job done. And only Hitch can get away with it.

This is a film for the fans, his cameo doesn't bother to show his face and yet everyone immediately recognizes him, this is why his last cameo is one of his most inspired. Hitchcock have built so much confidence that only he could conclude such a film with a climax relying on something that a child could have done, but knowing the childish Blanche and her slow-witted boyfriend, it could work. And although the film wasn't intended to be the last, it couldn't have had a better final shot than a wink at the camera. Hitchcock always did movies with the audience in mind, it's all natural to end with a friendly farewell to those whose emotions he toyed with for half a century.

I was with low expectations before watching this because I read a lot of negative reviews that said this was a not a good movie. I only bought it because this was the only missing film in "The Hitchcock Collection". Well, I saw it and I think it is great!It is a light movie, that mixes comedy with suspense and it's an enjoyable surprise. All of the comedy/light movies that Hitchcock made are underrated (see the example of "The trouble with Harry"(1955)) and I can't understand why.This has some scenes that demonstrate the mastery of Alfred Hitchcock, notably the car scene where one couple is inside a moving car with the brakes sabotaged.That scene is so well constructed that you actually can feel like you are in the car... Amazing!I watched in the "Making of" this picture someone saying that, at that time, people knew this would be the last Hitchcock movie it would have been received way better by the audience. I give it 8 of 10 because it's a joyful and great movie.

Having seen "Torn Curtain" about a year ago, I wasn't all that enthusiastic about seeing another of Hitchcock's "late" works (indeed, his final film). "TC" was absolutely abysmal, as reflected in my comments there, so I had no great expectations for "Family Plot." I was pleasantly surprised, however. Although true Hitchcock buffs may not rank "FP" alongside the "classics" like "Psycho" and "NxNW," "FP" is an evenly-paced film with strong central characters, an interesting supporting cast, good acting, humor, innuendo, mystery and, of course, suspense. A good all-around film by the master in his final effort. It won't leave your palms sweating and your blood running cold, and there are a couple of flaws that a younger Hitch might have caught (I, for one, wonder how Blanche's car got fixed so quickly -- hard to believe it wasn't totaled in the first place).

Nonetheless, Family Plot will hold your attention and keep you guessing until the very end. I'm glad I took the time to seek it out and watch it.