MovieChat Forums > Frenzy (1972) Discussion > Finch, Foster, and McCowen

Finch, Foster, and McCowen


In the winter of 1971, Alfred Hitchcock announced to the papers that his next film would be entitled "Frenzy," , from a novel of a different title by Arthur LaBern, and that the screenplay would be by superhot playwright Anthony Shaffer. It was to be, we read, "about a psychopathic multiple murderer and how the wrong man is picked up for his crimes." The excitement was palpable as Hitchcock fans waited anxiously for this possible combo of "Psycho" and "North by Northwest"(or The 39 Steps, or The Wrong Man).

I was a reader of Weekly Variety at the library back then, and I watched as "Frenzy" eventually appeared on the "Films in Pre-Production" list -- but with no cast announced. That was often the case with major films. Either just one big star was announced...or none til the film was ready to go into production.

Week after week, "Frenzy" was on the "Pre-Production" Variety list. And then one week, it was "In Production." And the cast was listed. And I read it quizzically:

Jon Finch, Barry Foster, Alec McCowen, Barbara Leigh-Hunt, Anna Massey, Vivien Merchant, Billie Whitelaw, Bernard Cribbens.

I read it again. The only name I clearly recognized was Billie Whitelaw -- I'd recently seen her playing a bosomy French Queen type in "Start the Revolution Without Me", a Gene Wilder/Donald Sutherland comedy. Bernard Cribbins I knew from the "Carry On" movies. Anna Massey rang a bell, but I couldn't tell from where. Same with Vivien Merchant.

But those "lead names" threw me. Jon Finch?(Not PETER Finch?) Alec McCowen(Not Alec Guinness?) Barry Foster -- not a clue.

It was clear that this was just about the "least starry" Hitchcock film ever made -- Topaz had a least had a "small name" in John Forsythe, and some foreign names in Michael Piccoli and Phillipe Noiret.

Well, Hitchcock had been striking out a lot lately...

A year later, "Frenzy" opened to surprising, heartwarming raves. "A Hitchcock comeback!" I went and saw the movie, three times by November.

And I came to find myself almost treating Jon Finch, Barry Foster, and Alec McCowen as stars. Movie stars.

Finch, Foster and McCowen provide an interesting lesson in movie stardom, IMHO. You could tell that Hitchcock chose these three actors with an admirable regard for their "star quality": their faces, their voices, their differing amounts of charisma. Each man was handsome enough that it seems he COULD have been a star...but it just wasn't in the cards for any of them.

Barry Foster had perhaps the hardest go. Hitchcock cast him in the role of charming psychopath Bob Rusk after Michael Caine said "no," and so Hitchcock essentially found "another Michael Caine." Which is always a problem in Hollywood (or England, I'd suppose) -- you can really only have one star per "type." Foster was different from Caine in some ways -- one poster here says Foster's face was more Richard Dawson that Caine -- and Bob Rusk was a horrific role to be remembered by. Still, there was something suave and stylish and funny about Barry Foster as Rusk...when he's NOT killing women, he's easily the funniest, friendliest character in the movie. You'd want to be his pal. That's a star.

Jon Finch came to "Frenzy" with another major movie ahead of it -- Roman Polanski's bloody art film version of "MacBeth," which got a lot of press but little distribution. It was made by "Playboy Productions" and Finch got a brief photo article in Playboy that I saw a few months before "Frenzy" came out, so I could say: "So that's what Jon Finch looks like?" Turns out, we realize 38 years later, Finch looked rather like a young man to follow him: Johnny Depp. The same kind of brooding, somewhat beautiful looks. And a great Shakespearean voice. Alas, Richard Blaney was no kind of role to land a star career from --- and seven years later, Finch lost an even bigger chance for stardom, when he quit the John Hurt role in "Alien" over illness.

Alec McCowen, I learned much later, was a respected stage star of London and Broadway and I felt that Hitchcock had cast him well for the movies. McCowen's Inspector Oxford is a business-like, tweedy man -- but quite a handsome one; he has a pleasant face, a movie star face. Hitchcock's eye was good here, given that Oxford could have been played by someone in the bureaucratic, older tradition of Trevor Howard or Harry Andrews. "The usual suspects." McCowen and Vivien Merchant are well-matched as an attractive couple who seem to have simply let the sex drain out of their marriage entirely.

McCowen got a shot at stardom one film after "Frenzy" -- getting the coveted lead male role in "Travels With My Aunt" as the tweedy grown nephew of a flamboyant aunt (Maggie Smith in a role meant for Kate Hepburn) who accompanies her on a small-scale adventure and finds a little romance. McCowen's good looks and quiet manner suited him well, but "Travels With My Aunt" wasn't much of an adventure, it sank without a trace. I saw it, I liked it. Because I'd liked McCowen in Frenzy.

Shortly after Frenzy came out, Barry Foster got a "nice guy" role as Richard Burton's sidekick in the TV mini-series "Divorce His, Divorce Hers." (Liz Taylor was "Hers," ) In this two-night production, Foster shaped up much more as a funny, friendly sort of character, kind of a British Dick Van Dyke. No murderous intent. I understand that soon thereafter, Foster made quite a name for himself on British television as detective "Van Der Velk," but you'd think he could have been a movie star too.

If there is one scene in "Frenzy" that demonstrates to me that Jon Finch, Barry Foster and Alec McCowen -- singly or in some combination -- COULD have been movie stars, its that famous final scene where Blaney, Oxford, and Rusk all come together for the first time -- you know, "Mr. Rusk...you're not wearing your tie." Each actor gets to show off his chops, briefly, near silently -- Finch with his brooding intensity, Foster with his expert, suave comedy(Rusk, caught red-handed, just sputters and utters a weak laugh), McCowen with his supercool, tough-yet-proper utterance of the final line. They look like movie stars, they sound like movie stars, and for that one shining moment in a film framed and directed by Alfred Hitchcock...

....they ARE movie stars.

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Excellent post, ecarle (as always!!)

You're right about the main stars having a certain film star quality about them despite them being relatively unknown at the time. Hitchcock was a genius to choose not only an unknown cast, but also the perfect face for each role. To me, all the actors were well suited for their individual roles and Hitchcock obviously had an eye for this.

I'm sure Michael Caine would have done a good job of being Rusk, but to me, Barry Foster was made for the part!!! He portrayed Rusk in various ways and, as you said, he was suave, stylish and had a wicked sense of humour!!! He was not just some mad, stalking psycho strangling girls for the fun of it.

A reference on this forum about Rusk idolising his mother and all the references he makes to her in Frenzy, reminded me of the character Frank Zito in the film 'Maniac' (1980) starring Joe Spinnell, Caroline Munro and directed by William Lustig. Here though, Spinell's character is killing women because of his mother but yet we see a gentle, sad side to him too.

Jon Finch was excellent as Blaney and his theatrical training certainly shines here. Don't you just love the way he says "One Bob Russssssk" to Brenda?!!!!

Finch also went on to appear in another film scripted by Anthony Shaffer - "Death On The Nile" and it's a shame that he hasn't become more of a household name over the years.

I believe there's a documentary called 'Aquarius: Alfred The Great' showing Shaffer and Hitchcock on location filming Frenzy. Think it's an extra on The Man Who Knew Too Much DVD. Would love to see it!!



The Life & Work Of Anthony Shaffer
www.anthonyshaffer.co.uk


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Thank you.

I have given your anthonyshaffer site a look. Good work.

You know, though Hitchcock didn't make enough of it, he was rather "saved" by getting Shaffer to script "Frenzy."

It wasn't just the quality of the script that Shaffer turned in.

It was that Hitchcock was able to ANNOUNCE, early on in the work on "Frenzy," that Anthony Shaffer, author of the superhot Broadway/London hit play "Sleuth" was going to write the next Hitchcock film.

This gave "Frenzy" a big boost that had Hitchcock fans hoping that Hitchcock was indeed about to break loose from the "decline" of Marnie, Torn Curtain, and Topaz(though Marnie is all rehabilitated and great today.)

Hitchcock enemy and critic Stanley Kauffman gave Shaffer practically all the credit:

"Hitchcock finally gets a good script, and lo, it is the director who has come back."

Well, it was actually a pretty good fusion -- Hitchcock's ideas, Shaffer's ideas (and dialogue), the storyline of the original novel("Psycho" meets "The Wrong Man"), the Covent Garden setting(so important to Hitchocck's life story)etc.

But Shaffer was crucial.

Alas, though: When Hitchcock asked Shaffer to write "Family Plot," Shaffer declined. One career save was enough.

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Bump.

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Not much to say but that this is, as usual, an enjoyable post as much because of your anecdotes as the information. I'm surprised that Jon Finch didn't become a bigger star because he was somewhat gorgeous. Nonetheless what a film for all three to be associated with and known by.

Btw have you seen Michael Powell's Peeping Tom? Given Hitch's friendship with Powell I wonder if he didn't take some inspiration from him and that film for the colours in Frenzy.

A woman can be any shape she wants.
What about a hexagon?

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Thank you.

You know, I think I offer the anecdotes to capture as best I can and from my POV, "what it was like" to live in that time and wonder "what was this new Hitchcock film going to be like?"

It is only in older age that I realize a lot of us very young Hitchocck fans in the 70's were facing a denial problem: just as we became Hitchcock fans...he was "leaving the scene". We were never going to get a "Rear Window" or a "North by Northwest" in the sevenites. "Frenzy" came closest, of course, to "Psycho"...but not as an event.

Some notable critic of my age noted that he rushed to see "Frenzy" in 1972, found it "too creepy," and had to wait the three years to "Jaws" to really get what felt like a Hitchcock blockbuster. HITCHCOCK wasn't making them anymore.

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Jon Finch was gorgeous. Funny for Hitchcock: even in casting virtual unknowns, he had a taste for old school movie star looks in Frenzy. At least among the men.

No, I don't think the women in "Frenzy" are unattractive, though Anna Massey is "borderline," and there is this cruel exchange on Finch's gorgeousness and Massey's lack early in "Frenzy":

Rusk: Well, at least Babs will still be at the Globe. And she's prettier than you.
Blaney: A matter of opinion.

Ouch! There it is right there. Blaney HIMSELF remarking that he just may well be better looking than his own girlfriend. Maybe THAT's why he is punished.

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Nontheless what a film for all three to be associated with and known by.

Yes. Hitchcock was foiled in casting stars for "Frenzy" and there is something poignant and touching in the tales told by Finch and the late Foster on the Frenzy DVD doc about how incredible it was to learn -- as stage actors or near-unknown British TV guys --"Alfred Hitchocck wants you to play a lead in his new movie." How incredible would THAT be if you weren't a star?

"Frenzy" was well-reviewed, it was a hit...and in the decades to follow, suddenly these actors were tracked down for the various Hitchocck bios and DVD docs. They WERE famous in Hitchcock circles. Amazing for them.

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I have seen "Peeping Tom." It is as good as its reputation, though far less fun in the "Boo!"/Haunted House tradition of "Psycho" from the same year(1960.) The "study of sadism" in "Peeping Tom," wh ile not graphic, is still disturbing(as with the father's terrifying "experiments" on his little boy.)

Hitchcock knew Powell and knew of Peeping Tom and I think Frenzy is more like Peeping Tom than it is like Psycho...its British(duh), it is in color, and both films star Anna Massey(looking remarkably the same from 1960 to 1972.)

I once thought that Hitchcock purposely waited a decade to do another psycho movie after Psycho, but that was not the case. He was working on a new "psycho" script as early as 1962 , and had writers including Robert Bloch working on material based on British killers Neville Heath and John Christie. An attempt to film a New York-based story called "Frenzy" at Universal was shut down by Lew Wasserman in 1967 and it took until 1972 -- and new material -- to get a new "Frenzy" done.

I'll bet Hitchcock had been inspired by Peeping Tom for all those years, because it is clearly there in Frenzy...the colors too(I now realize.)




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It is interesting to hear what it was like then because of course the perspective differs today.

I'm certain that Frenzy pays some homage to Peeping Tom. Aside from the Anna Massey connection and use of colour, both antagonists are likeable or sympathetic with interesting psychologies. Of the two films I prefer Frenzy to Peeping Tom.

there is this cruel exchange on Finch's gorgeousness and Massey's lack early in "Frenzy":

Rusk: Well, at least Babs will still be at the Globe. And she's prettier than you.
Blaney: A matter of opinion.

Ouch! There it is right there. Blaney HIMSELF remarking that he just may well be better looking than his own girlfriend. Maybe THAT's why he is punished.
I missed that! Love the humour in Hitchcock's films. Do you think that Hitchcock enjoyed punishing his good looking lead actor too? I ask this with tongue-in-cheek because Peeping Tom is critical of directors.
A woman can be any shape she wants.
What about a hexagon?

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Of the two films I prefer Frenzy to Peeping Tom.

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Me, too. There's just something about Hitchcock -- the wit, the style, the structure -- that makes even the most disturbing material palatable and entertaining.

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there is this cruel exchange on Finch's gorgeousness and Massey's lack early in "Frenzy":

Rusk: Well, at least Babs will still be at the Globe. And she's prettier than you.
Blaney: A matter of opinion.

Ouch! There it is right there.

I missed that!

Me, too, on many early viewings. But there it is. One almost wonders: did the writer add the line AFTER Finch and Massey had been cast in those roles?

For his part, Hitchcock kept rejecting all these "bosomy blondes" that British agents sent him for the role of Babs the Barmaid. He did NOT want to sexualize the rape victims too much.

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Blaney HIMSELF remarking that he just may well be better looking than his own girlfriend. Maybe THAT's why he is punished.
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Do you think that Hitchcock enjoyed punishing his good looking lead actor too? I ask this with tongue-in-cheek because Peeping Tom is critical of directors.


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Well, Hitchcock had one reputation for physically torturing his ACTRESSES -- think of Janet Leigh's trials in the shower, the birds attacking Tippi Hedren and Babara Leigh Hunt having to act out her rape and long strangling.

But he was known for being pretty cold and aloof to his non-star males. He ignored John Gavin on Psycho. He treated Rod Taylor with contempt on the set of The Birds (Taylor boycotted on-set press interviews until Hitchcock treated him more nicely)

And he almost fired Jon Finch from Frenzy, choosing instead to delete many Finch close-ups. Finch argued over the script with Hitch one too many times.

Conversely -- uh oh -- Hitchcock became fast friends with Crazy Barry Foster(Rusk) -- had drinks with him daily during "Frenzy" filming, invited him to his Beverly Hills house in the years after Frenzy.

I guess Hitchcock really DID like his killers better.

PHYSICALLY, I always felt Hitchcock toyed with Paul Newman on Torn Curtain. In an early scene, Newman must kneel down at a public toilet to read information. And in the "Gromek murder scene," Newman has to get down and dirty and roll around on the floor and literally drag a man to his death. I'm sure Hitchockc didn't mind putting the argumentative Newman through THAT.



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I wonder if part of the preference is also based on the killer. I'm not sure what I mean but Rusk affected me more, in negative ways and perhaps that mattered. Also in Frenzy the wrong man was convicted so there was more at stake.

did the writer add the line AFTER Finch and Massey had been cast in those roles?
Now that would be funny!!
For his part, Hitchcock kept rejecting all these "bosomy blondes" that British agents sent him for the role of Babs the Barmaid. He did NOT want to sexualize the rape victims too much.
Good for Hitch but I've now got an image of Barbara Windsor (not sure if you know of her) being sent to audition!
PHYSICALLY, I always felt Hitchcock toyed with Paul Newman on Torn Curtain. In an early scene, Newman must kneel down at a public toilet to read information. And in the "Gromek murder scene," Newman has to get down and dirty and roll around on the floor and literally drag a man to his death. I'm sure Hitchockc didn't mind putting the argumentative Newman through THAT.
I'll have to rewatch Torn Curtain with this in mind. Good observations! Was Newman argumentative? If so, why?
A woman can be any shape she wants.
What about a hexagon?

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For his part, Hitchcock kept rejecting all these "bosomy blondes" that British agents sent him for the role of Babs the Barmaid. He did NOT want to sexualize the rape victims too much.
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Good for Hitch but I've now got an image of Barbara Windsor (not sure if you know of her) being sent to audition!


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It WAS good for Hitch...I really think he was against sexualizing the victims. And I do believe that Babs WAS a bosomy blonde in the book. A glance at Barbara Windsor's imdb page suggests that yes, she was likely "sent over" to Hitchcock.

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I'm sure Hitchockc didn't mind putting the argumentative Newman through THAT.

Was Newman argumentative? If so, why?

Well, there's a fair amount of documentation on this. First of all, Newman wrote and sent to Hitchcock a detailed memorandum(I have read it on display at the 1999 Hitchcock Centennial exhibit at the MPAA) with recommendations about changes to be made in Torn Curtain, starting with the title: "I don't think Torn Curtain is a really classic Hitchcock title in the tradition of Notorious or Rope," Newman wrote.

Hitchcock rejected everything in the Newman memo, and Newman began "Torn Curtain" in an argumentative mood...as Newman had with Otto Preminger when HE rejected Newman's memo with recommendations on "Exodus"(Preminger told Newman of that memo, "These recommendations would be fine if you were directing this picture, but you aren't. I am.")

When Hitchcock invited Paul Newman to his home for dinner prior to production, and offered Newman a fine wine from the "Hitchcock cellars," Newman rejected it and asked for a beer from the kitchen refrigerator.

Newman didn't much like the Torn Curtain script(it isn't, indeed, all that good..but I swear it is literate and witty enough), and didn't much like what he had to to do in "Torn Curtain." So...argumentative. But not to the point(evidently) of shutting down production or staying in his trailer.

I personally believe that Hitchcock forced a more mature performance on Paul Newman than he had been giving in many films prior to "Torn Curtain." Newman doesn't mug and caper and act like a dummy as he did in some films(especially the informal remake of "North by Northwest," The Prize.) Newman is playing a rocket scientist...and we pretty much believe that he IS.

I also like Newman's cowed, and embarrassed interaction the the Commie bodyguard Gromek, when Gromek discovers Newman in a counterspy hideout farmhouse. Newman plays the scene like an embarrassed boy who has been caught red-handed by his father with a Playboy magazine.



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she was likely "sent over" to Hitchcock
I'm having a real chuckle at the innuendo of being 'sent over', which given many of the roles Barbara Windsor played would be apt!

Was Newman a bit pretentious then? If he didn't like Torn Curtain could he not have quit? Or was he bound by a contract that prevented such action?

I have Torn Curtain on DVD - it was a two disc offer along with Marnie (?) so I will re-watch it. I don't remember thinking it a poor Hitchcock when first I saw it but equally there's little of it that remains in my mind, so perhaps that's a comment upon it.
A man chases a woman until she catches him

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I think Hitcock developed a resentment for established stars as time went on, particularly the salaries (and control over material) they could command.

His aversion to them really works to Frenzy's benefit, though. It seems to me this has the most solid acting of the later Hitchcock films.

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I think Hitcock developed a resentment for established stars as time went on, particularly the salaries (and control over material) they could command.

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It seems to have been a real battle for him as the fifties turned into the sixties. Cary Grant had gotten astonishing pay for North by Northwest(big money up front, a percentage, and "days over" that kicked in BEFORE filming started because of delays in starting the film's production.)

Hitchcock told screenwriter Evan Hunter that one reason he didn't want Cary Grant for "The Birds" was that he was too expensive anymore.

Hitchcock successfully used lesser stars(or big stars on cheap contract salaries) for Psycho, The Birds and Marnie, before Universal's Lew Wasserman pressed Hitchcock to use Paul Newman and Julie Andrews in "Torn Curtain." The two together cost a lot and led to a cutting of the rest of the budget of the film to pay them.

From "Torn Curtain" on, Hitchcock didn't use stars, but a debate has ensued. He ended up with unknowns and lesser-knowns, but he evidently DID court stars for Topaz(Sean Connery, Yves Montand, Catherine Denueve), Frenzy(Michael Caine), Family Plot(lots of folks.)

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His aversion to them really works to Frenzy's benefit, though. It seems to me this has the most solid acting of the later Hitchcock films.

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Hitchcock had to have realized his screenplay for Frenzy had three unappetizing leads: Sex killer Bob Rusk(turned down by Michael Caine), loser Richard Blaney(evidnelty turned down by David Hemmings, a middling British star known for Blow-Up) horribly victimized Brenda Blaney(turned down by Blow Up star Vanessa Redgrave; and Hitch wanted her sister Lynn Redgrave for Babs.)

British marquee stars were in even less quantity than American stars in 1971, so Hitchcock gave up on stars, plunked himself down in Universal's London office with some "players head shot books" of British actors, and put out a "general casting call" for Frenzy, ending up, in the main, with very skilled stage actors from the West End(it was written that some actors in the "Frenzy" cast filmed the movie by day and acted in West End plays at night.)

And thus, indeed, "Frenzy" has the most solid acting of the later Hitchcock films. I was looking at the "raves ad" for Frenzy from 1972 the other day, and one was from Arthur Knight: "Hitchcock's best film in over a decade"...which meant, in 1972, that it was in Knight's opinion, better than the big "The Birds."

Other critics felt so, too -- and largely on the evidence of the crack cast of British thespians in "Frenzy," who, whether snobbishly considered such or not, were simply considered better at acting than most of the people in The Birds or Marnie or Torn Curtain or Topaz.





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It was clear that this was just about the "least starry" Hitchcock film ever made -- Topaz had a least had a "small name" in John Forsythe, and some foreign names in Michael Piccoli and Phillipe Noiret.

...most of the cast were quite well-known--mostly in the UK, but even in the States, I knew Michael Bates was just in Patton and A Clockwork Orange, Jean Marsh was in an early Twilight Zone Episode, Alec McCowen was in Loneliness of the Long-Distance Runner--and you mentioned Billie Whitelaw & Bernard Cribbens.
It was just Jon Finch who wasn't that well known. And Babs was in Peeping Tom--
So they were stars--just not of the first magnitude.

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Well, OK...and how fascinating that Jean Marsh, ostensibly a "British actor," was in a Twilight Zone.

I'm giving you the perspective of the teenager I was when the film came out, too. I didn't know who anybody was except for Whitelaw and Cribbens.

But those were actors, not stars. And certainly British cinema and especially TV shows didn't always cross the Atlantic with all the roles they played.


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Michael Caine confirmed that Hitchcock asked him to play Rusk and he turned it down.

Hitchcock avoided the issue in this interesting Q and A:

Q: Barry Foster was a lot like Michael Caine. Did you consider Caine for the part?

Hitchcock: Well, if I'd used Caine, I would have needed to use an equally big star for the other man(Blaney.)

And then the interview moved on. Interesting that Hitchcock did not want to admit that Caine turned him down...but who was that equallly big star?

How about Sean Connery?

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I saw a list once supposedly from Hitchcock's production offices with these casting hopes for Frenzy:

Rusk...Michael Caine
Blaney...David Hemmings
Brenda...Vanessa Redgrave
Babs.....Lynn Redgrave

With that casting, Hitchcock would have had the two stars of Blow-Up(Hemmings and Redgrave) and two sisters as Rusk's two female victims.

Can't see Vanessa Redgrave agreeing to that ghastly rape-murder. Had to be an unknown(Barbara Leigh-Hunt.)

In any event, all of the above either said "no" -- or were never approached.

Funny, though: so Michael Caine said no. There were lots of English(and Scottish and Irish and Welsh) stars at the time, for Rusk and/or Blaney and/or Oxford: Peter O'Toole, Albert Finney, Richard Burton, Richard Harris, Alan Bates, Oliver Reed..I guess they all found the characters too sick and/or downbeat and Hitchocck's recent record too poor.

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As it turns out via a book about "Frenzy" of 2012 on its fortieth Anniversary("Frenzy": Alfred Hitchcock's Final Masterpiece), Hitchcock made approaches to these star British actors for these roles:

Rusk...Michael Caine
Blaney...Richard Burton(who would have perfectly fit the 50-ish Richard Blaney -- called BlaMey in the book)...then Richard Harris
Brenda...Glenda Jackson

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