This is a revolution, dammit! We’re going to have to offend somebody!
If the rest of American history would have had such great musical numbers, I might have gotten better grades. Okay, this adaptation of the hit Broadway play wasn’t exactly letter-perfect history but it is remarkably faithful to the facts for, you know, a musical. It’s also extremely entertaining if you allow for its stage bound origins.
Man was born of the ape. There’s still an ape curled up inside of every man; the beast that must be whipped into submission.
Conquest of the Planet of the Apes asks its audience to swallow a number of premises, any one of which ought to make the most flexible mind choke. Even if you dismiss the fact that the film completely ignores the timeline established in the previous film, you still have to get past some real logical doozies.
Do I look like a sex murderer to you? Can you imagine me creeping around London, strangling all those women with ties? That’s ridiculous. For a start, I only own two.
Frenzy marked several returns for Alfred Hitchcock. First, he was going back to his native England where he had not worked for decades. More significantly, he was filming in the marketplace at Covent Garden, where his father had worked as a green grocer. It was also a return to the basic theme that had informed he best work, that of the innocent man wrongfully accused. The final return was to the top of his form that had seemed to be missing for several years. After two films dabbling with international intrigue, Torn Curtain and Topaz, Frenzy was the sort of more grounded and personal suspense tale at which he had always excelled.
