This Underrated Alfred Hitchcock Film Is the Perfect Marriage of Dark Comedy and Thrills
Tyler Doupe'
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Family Plot is the final picture from a director with no bombs in his filmography. Though it’s far from Hitchcock’s most celebrated work, there is still plenty to love about this comic caper. Family Plot observes a release date anniversary today (April 9th) and that’s all the more encouragement I need to whip up an essay speaking to the flick’s many merits. Family Plot is a blend of comedy and suspense that serves up pulse-pounding action, a dynamite cast of quirky characters, and a twisty narrative likely to keep you on your toes.
The film follows Blanche (Barbara Harris), a psychic who makes a living by proclaiming to commune with the spirit world. In actuality, most of Blanche’s insight comes from her boyfriend, George (Bruce Dern), an aspiring actor who does a bit of sleuthing for his partner when he’s not auditioning (or driving a cab). Matters take a series of unexpected turns when Blanche’s client, Julia Rainbird (Cathleen Nesbitt), enlists her ‘psychic powers’ to find a boy child who was born out of wedlock and subsequently adopted. This long-lost relative stands as the rightful heir to a large fortune. Blanche gets to work trying to find him but soon learns that the mystery heir has a few secrets of his own and appreciates his privacy.
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What makes Family Plot stand out from a lot of Hitchcock’s work is the film’s distinction as an actual comedy. There is a persistent humor that permeates much of the celebrated director’s work. But save for a few films like The Trouble with Harry and Family Plot, the director didn’t get to veer out of his sweet spot often. And that’s unfortunate because Hitchcock had a brilliant knack for juxtaposing humor alongside the macabre.
Family Plot serves as a testament to how funny Hitchcock could be when given the latitude. Although, like most films, this is a team effort. The picture’s comical exchanges work thanks to a smart script from Ernest Lehman and Victor Canning, superb direction, and a talented cast.
The most memorable of the core cast is surely national treasure Barbara Harris as Blanche. She’s scripted as a con woman who may not have a lot of redeeming qualities on paper. But Harris keeps Blanche likable by leaning into the character’s good nature and quirks. Perhaps most endearing is her defiant refusal to admit she’s a fraud. Blanche shamelessly takes the information George gives her about her clients and attributes the knowledge to her psychic abilities. She keeps the façade up for the vast majority of the film, finally directing a knowing wink to the audience following the denouement. I find that level of dedication endearing.
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Karen Black is also at her best as jewel thief and kidnapper Fran. She gets some great one-liners courtesy of Lehman and Canning and she delivers them effortlessly. Fran and her partner (in life and crime), Arthur (William Devane), have brilliant screen chemistry. There’s a sexual energy between them that reaches the point of being almost electric. After pulling off a harrowing feat, Arthur explains to Fran that when the nerves from doing crime subside, you start to feel sexy. Both characters bring a level of sensuality to the scenes they share. There’s this undercurrent of sexuality that permeates their interactions. I got nuts for a sexy, villainous duo and Arthur and Fran deliver everything I could want from that trope.
The film has more to offer than quirky characters and sexy energy, however. Hitchcock also serves up a high level of suspense as the narrative progresses. The closer Blanche and George get to uncovering the truth, the greater the danger in which they find themselves. The tension comes to a terrifying head when the duo is careening down a mountain highway with no brakes. The footage is spliced together frantically, with POV shots staring down the vast expanse of road ahead.
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Seeing as this is a caper comedy, Hitchcock juxtaposes hilarity alongside the harrowing ordeal mentioned above. As the car is spiraling out of control, Blanche grabs George by the tie and nearly strangles him. That piece is funny to watch but also works to amp up the intensity. As if George trying not to lose control of the car as they careen down the mountainside isn’t enough to manage, he also has to contend with Blanche’s unhinged reaction to the unforeseen excitement. Both actors approach the scene with just the right balance between serious and silly.
The final piece that makes me keep coming back to Family Plot time and again is the central mystery. Lehman and Canning have crafted an interesting blend of secret identities and double crosses that ensure the pace is never dull. Even after numerous repeat visits, I still consider the storyline to be compelling and inventive.
All things considered, Family Plot is one of my favorite caper comedies. The script, the cast, the masterful direction, and the moments of black comedy make this underrated Hitchcock effort a must-see. If you’ve yet to experience the film, consider checking it out in celebration of the picture’s release date anniversary. I suspect you’ll be glad you did.
Categorized:Editorials
