Alfred Hitchcock’s final film is generally, though certainly not
universally, rather unloved. It’s not much of a surprise either, for this
peculiar comedy thriller (thriller comedy?) most of the time doesn’t feel at all
like the sort of films you think about when it comes to defining an Alfred
Hitchcock movie, even though it is certainly working in a genre space Hitchcock
very much helped define.
Which is why I rather like the film, I think. At the very least, I find it
very difficult not to respect a filmmaker who has been making movies since
silent film times, and in the late 70s still goes out to make a film that’s not
typical of him. Family Plot is not a stone cold Great
Film mind you - it lacks that slightly abstract crystallized and unmoving
quality films marked with this word not seldom suffer under; it doesn’t feel
like a part of a canon but like part of a life’s work that could have gone on
from there.
The film’s great strength and its great weakness lies in its playfulness, the
director’s willingness to let his very wonderful, very 70s cast – particularly
Karen Black, William Devane, Bruce Dern and Barbara Harris – interact in often
funny ways that suggest personal histories between characters instead of
explaining them, and to let them show off-beat flaws, how the film suggests
all sorts of interesting stuff you couldn’t get into a film that’s interested in
tight plotting. For Family Plot really is a rather meandering kind of
movie, with quite a few scenes you’d just cut if its aim were are tight unified
experience but which are left in here to create more of a space for the
characters to inhabit. The plot for its part is weird, rather intricate, but
also not at all the point of the film.
There are two nice Hitchcock suspense set pieces to enjoy too, but what
really lets this film stay in my mind is how little this is “An Alfred Hitchcock
movie”, and how much the work of a veteran director of huge talents trying on
elements of what the new kids have been up to in the last years.
Thursday, May 18, 2017
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