Családi összeesküvés

Hitchcock utolsó alkotása, amely bár nélkülözi a mester filmstílusát (inkább szokványos), mégis szórakoztatóbb, mint az 1970-es évek legtöbb filmje, ami hasonló műfajú. Főként az intelligens és üde forgatókönyv és a könnyed hangulat teszi ideális szórakozássá a vasárnapi kikapcsolódáshoz a tévé előtt. Egy adag szkepticizmussal mentem bele a Családi összeesküvés című filmbe, és végül kellemesen meglepődtem. Ne úgy tekintsd, mint egy Hitch-filmet, és akkor jól fogod érezni magad. (2002.04.11)

The director’s cameo in Family Plot perfectly captured the qualities of the film itself, which really contains only a shadow of Hitchcock’s genius. Other than the usual sexuality (with signs of masochism) and food, the master’s final film involves matters relating to death and the afterlife. At the same time, Hitchcock makes it clear that he considers spiritualism to be a load of nonsense whose purpose is to extract money from gullible people. Even the last scene, when there is finally something that looks like a demonstration of supernatural abilities, cannot avoid calling those abilities into question, and because there is no other character on hand, the conspiratorial wink belongs to the audience. Though probably not intended as such, it is a very stylish farewell. In terms of quality, Family Plot is not that far behind other late-period Hitchcock films: there are two or three scenes that you will want to see again, actors without charisma (who, furthermore, portray absolutely unbelievable characters) and a surfeit of words that often tell us what we don’t need to know. As unsatisfying value added, there is a soporific exposition and the strange feeling that Hitchcock would also like to leave all of those annoying, puzzled people behind as quickly as possible. 60% (2013.07.19)