"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.

It is nice to see that Family Plot is getting more recognition other than being the swan-song of one of the most influential directors in cinema. Despite Hitchcock being my favourite director, I wasn't sure whether I would like Family Plot after hearing from people, both on IMDb and outside, that it was one of his weakest. I'm glad I did see it(and I would have done anyway) because while it is not among Hitch's best(Psycho, Vertigo, Rear Window, Rebecca) it is nowhere near one of his weakest(Jamaica Inn, Under Capricorn, Topaz, The Paradine Case). True, the film is a little long, the story is convoluted and a few scenes are incoherent as a result and Karen Black's character could have been much more developed. Family Plot does look good though(if not one of his best-looking films like Vertigo, To Catch a Thief and The Trouble with Harry), both audacious and gritty and the photography services these very well. John Williams' score is jaunty and haunting, and sensibly more restrained than some of the bombast of his very best scores.

The dialogue has strong bouts of fun and tension with good interplay between the cast, the humour though is more a subtle blend rather than busting-your-gut every minute. There is also a lot of innuendo that surprises you at how much the film gets away with. The story is convoluted but still intriguing and doesn't feel dull, there is still a good amount of mystery and tension amongst the fun. The sequence with the car out of control was the film's most memorable one, and it seemed that Hitchcock was paying homage here to all his previous work(ie. the attempted murder with the neck-tie almost reminiscent of Frenzy, to me anyway). Hitchcock's directing was taut and sly, I didn't detect any evidence that he didn't have his heart in it, yes maybe Dern and Harris' characters are much more developed than those of Black and Devane's but I put that down to the writing too. The acting is fine, none of the four lead players give performances that rank among the best of any Hitchcock film but I didn't expect that. I don't think Bruce Dern and Barbara Harris have done better since, William Devane is very chilling and quite brutal and Karen Black seems to be having fun despite her character not being as developed well as the rest.

In conclusion, a good swan-song, and while not among the Master of Suspense's best I do think it gets a bad rap for either the viewer having too high expectations, or that it was a noble but failed attempt at doing something different or bad timing in a decade of disaster movies and with the likes of Spielberg, DeNiro and Pacino(I personally think it's a bit of all). And of course there'll be people who didn't care for it, and that's understandable, as while I did really enjoy Family Plot I can definitely see why people will find fault with it. 7.5/10 Bethany Cox

Bruce Dern and Barbara Harris are looking for the long-lost nephew of an old rich lady. That's because during a phony séance orchestrated by Harris, the lady revealed that she was feeling very guilty about forcing her sister to put up her illegitimate child for adoption and she'd be willing to pay $10,000 to find him. At the same time, there is a seemingly unrelated plot about master thieves who kidnap rich folks and seem to make no mistakes at all. How the two plots eventually converged and the trip along the way was rather pleasant--and a bit light-hearted from time to time. But, still there was no magic and the performances, at times, were pretty broad and overly silly.

Aside from a lot of cursing (far more than I would have expected from the usually classy Hitchcock), this movie looked a lot like a made for TV movie. That's because the usual Hitchcock polish and plot just aren't to be found in this film. While it's a pleasant little mystery, Bruce Dern, William Devane, Barbara Harris and Karen Black seem to lack the class and quality of old-time Hitchcock actors such as Cary Grant, Jimmy Stewart, Robert Donat, Joan Fontaine, etc. Because of this, it was a sad ending to the director's long and distinguished career. Now this ISN'T to say this is a bad film--I actually enjoyed it quite a bit. It just showed no evidence of greatness--something most people come to expect from this director.

By the way, for those looking for the "hidden Hitchcock", you see his silhouette relatively early on in the film.