I still seem to be in a minority in preferring Family Plot to Alfred Hitchcock’s other late films, but after reseeing the film countless times, I’m not about to revise my opinion. It would appear that some of Hitchcock’s biggest champions, such as Robin Wood, have tended to dismiss the film because it isn’t sicker. I tried to respond to their criticism at least provisionally in the opening of this review, written for the summer 1976 Sight and Sound, which they ran as their cover story for that issue and which I’ve revised, but only minimally. — J.R.
Alfred Hitchcock, the master of suspense, is often associated with shocking twists and dark psychological thrillers. Yet, nestled among his iconic works is Family Plot, a film that, while perhaps less discussed than Psycho or Vertigo, holds a unique charm and comedic brilliance. Often categorized as a minor work in Hitchcock’s late period, Family Plot is ripe for rediscovery and appreciation, especially for those seeking a lighter, yet equally masterful, Hitchcockian experience. This analysis delves into why Family Plot stands out, arguing for its place as not just a late-career footnote, but a testament to Hitchcock’s enduring artistry and his sly commentary on his own celebrated techniques.
Deception and Delight: Unpacking the Narrative of Family Plot
“Everything’s perverted in a different way,” Hitchcock famously noted, and Family Plot seems to playfully explore this idea by establishing a sense of normalcy only to gleefully dismantle it. The film opens by introducing us to Blanche (Barbara Harris), a phony psychic, and her boyfriend George (Bruce Dern), a taxi driver and aspiring actor. Their initial scheme revolves around conning an elderly dowager, Julia Rainbird (Cathleen Nesbitt), into paying them to find her nephew, the illegitimate son of her deceased sister. Rainbird believes this nephew to be the heir to the family fortune, setting Blanche and George on a seemingly simple, albeit deceptive, quest.
This seemingly straightforward plot intertwines with a second narrative thread involving Arthur Adamson (William Devane), a sophisticated jeweler, and his girlfriend Fran (Karen Black). Unbeknownst to Blanche and George, Arthur is the very nephew they are searching for, and he and Fran are engaged in a far more dangerous game of kidnapping and diamond theft. The film masterfully interweaves these two storylines, creating a delightful contrast between the bumbling amateur detectives and the polished professional criminals.
A Departure from Darkness: Comedy and Eroticism in Hitchcock’s Late Style
In stark contrast to the grim and often violent nature of Hitchcock’s preceding film, Frenzy, Family Plot embraces a lighter tone. Murder is notably absent, and even the death of a villain occurs discreetly off-screen. This shift towards comedy is not just a stylistic choice but a deliberate subversion of audience expectations. Hitchcock, known for his “rude shocks,” here opts for a more subtle form of suspense, one that relies on witty dialogue and character-driven humor rather than graphic violence.
Furthermore, Family Plot subtly explores erotic undertones in almost every relationship, a departure from the often-repressed sexuality found in his earlier works. While explicitness is avoided visually, the verbal exchanges are laden with innuendo and playful banter, adding another layer of sophistication to the film’s comedic fabric. This witty and suggestive dialogue, coupled with the overall benign mood, makes Family Plot a refreshingly different Hitchcock experience.
Echoes of the Past: Family Plot in the Context of Hitchcock’s Oeuvre
Critics and audiences alike have often drawn parallels between Family Plot and Hitchcock’s earlier film, The Trouble with Harry. Both films share a comedic sensibility and a focus on quirky characters navigating unusual situations. Barbara Harris’ performance as Blanche is often compared to Shirley MacLaine’s in The Trouble with Harry, both embodying a delightful kookiness that is central to the films’ charm.
However, Family Plot can be viewed as more than just a lighthearted comedy in the vein of The Trouble with Harry. It serves as a sophisticated commentary on Hitchcock’s own directorial methods and a reflection on his career as a whole. The film’s working title, Deceit, hints at this self-aware approach, emphasizing the themes of illusion and manipulation that are central to Hitchcock’s filmmaking. The final shot, featuring Blanche winking at the audience, encapsulates this playful acknowledgment of deception, inviting viewers to question what they have seen and to appreciate the artifice of cinema itself.
Technical Brilliance in Subtlety: Script, Structure, and Suspense
Ernest Lehman’s screenplay for Family Plot is a masterclass in precision and wit. The film unfolds with the meticulousness of a “immaculately polished mechanism,” showcasing Hitchcock’s ability to convey complex information with economy and humor. Scenes are often multi-layered, serving both narrative and comedic purposes simultaneously. For instance, the gag of a headstone being carved to pop music not only provides humor but also seamlessly transitions into a scene at the caretaker’s office.
Hitchcock’s mastery of cinematic language is evident throughout Family Plot. A simple doorbell ring becomes a concise summary of his innovative sound design experiments, while a glimpse of a bishop’s red robe under a car door encapsulates his inventive use of color. These “shorthand notations,” as the original review aptly describes them, demonstrate Hitchcock’s ability to distill his signature techniques into subtle yet impactful moments.
The Car Chase Reimagined: A Masterclass in Suspense
One of the most memorable sequences in Family Plot is the car chase scene featuring Blanche and George in a car with faulty brakes careening down a mountain road. This scene is a prime example of Hitchcock’s storyboard technique, where suspense is derived from “algebraic essentials” – the calculated manipulation of cinematic elements to maximize tension.
The sequence is not about spectacular crashes or explosions, but about the escalating tension created by near misses, perfectly timed cuts, and the sheer absurdity of the situation. The humor interwoven into the suspense is particularly effective, as Blanche and George’s frantic bickering amidst the life-threatening situation adds a layer of comedic relief that only heightens the overall tension. It is in this chaotic and comical moment that the audience truly connects with Blanche and George, realizing their endearing qualities beneath their bumbling exterior. Their survival of the crash and George’s romantic gesture of carrying Blanche from the wreckage become a genuinely earned Hollywood cliché, a testament to Hitchcock’s ability to breathe new life into familiar tropes.
Hitchcock’s Final Wink: Invitation to Deception
Hitchcock’s cameo in Family Plot, a brief appearance at the Registry of Births and Deaths, is a playful nod to his own presence as the master manipulator behind the scenes. However, the original review posits an even more intriguing interpretation, suggesting that Hitchcock himself can be identified with Henry, Blanche’s supposed spirit guide. Just as Henry guides Blanche, Hitchcock guides the audience through the intricate plot, orchestrating illusions and controlling our perceptions.
The film’s tagline, “You must see it twice!”, is not merely a marketing gimmick but an invitation to unravel the layers of deception and appreciate the film’s intricate construction. The ambiguity surrounding Blanche’s psychic abilities and the final wink she delivers to the camera leave the audience with a lingering question: Have we been deceived? And more importantly, did we enjoy being deceived?
Family Plot, in its sunny disposition and comedic charm, is a fitting conclusion to Hitchcock’s illustrious career. It is a film that invites us to reconsider our expectations of suspense, to appreciate the artistry in subtlety, and to revel in the delightful game of cinematic deception. More than just a minor work, Family Plot is a testament to Hitchcock’s genius, a film that deserves to be rediscovered and celebrated for its unique blend of comedy, suspense, and self-aware cinematic playfulness.
