{"id":1230942,"date":"2026-02-25T17:05:04","date_gmt":"2026-02-25T17:05:04","guid":{"rendered":"https:\/\/www.polygon.com\/?p=608082"},"modified":"2026-02-25T17:05:04","modified_gmt":"2026-02-25T17:05:04","slug":"hitchcocks-only-r-rated-movies-are-on-netflix-and-make-a-wild-double-feature","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/hitchcocks-only-r-rated-movies-are-on-netflix-and-make-a-wild-double-feature\/","title":{"rendered":"Hitchcock\u2019s only R-rated movies are on Netflix and make a wild double feature"},"content":{"rendered":"
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Ask five random people to name one Alfred Hitchcock movie<\/a>, and chances are good they\u2019ll all say Psycho <\/em>first, whether they\u2019re\u00a0 classic-movie superfans who could name all his works going back to the British silent-movie days, or they couldn\u2019t pick Hitch out of a crowd in one of his famous director\u2019s cameos<\/a>. You could argue all day with those people about whether Psycho <\/em>is Hitchcock\u2019s best<\/em> movie, but it\u2019d be hard to claim that anything else in his filmography has had more cultural impact or lasting reach<\/a>, both on horror movies and on cinematic storytelling in general.<\/p>\n

But while endless essays have been written about how Psycho<\/em>\u2019s boundary-pushing, censor-baiting action <\/em>changed moviemaking<\/a>, and while its biggest twists and famous central shower-murder scene have been so absorbed into pop-culture trivia knowledge that they don\u2019t feel shocking out of context anymore, it\u2019s easy to forget that Hitchcock\u2019s most-discussed movie is still a terrific watch that holds up 65 years after release. With Psycho <\/em>now streaming on Netflix<\/a>, it\u2019s easy for Hitchcock-lovers to revisit the movie, or for newbies to finally check out.<\/p>\n

The real fun, though, is watching it as a double feature with Hitchcock\u2019s only other R-rated movie, Frenzy<\/em>, which is also on Netflix now. Watched back-to-back, they\u2019re an incredible lesson in how fast art and culture changes \u2014 and how much impact one movie can have on those changes.<\/p>\n

Psycho, unrated edition<\/h2>\n

Psycho<\/em> wasn\u2019t always rated R \u2014 it was released in 1960, eight years before the Motion Picture Association launched the system of film ratings it still uses more or less uses today<\/a>. The MPA didn\u2019t rate Psycho<\/em> until 1984<\/a>, and the ratings organization\u2019s notorious bias against nudity, sexuality, or sexual situations<\/a> (especially in cases with any hint of queerness) likely came into play with this movie. In the era of phenomenally graphic horror that copies Psycho<\/em> while getting lovingly anatomical about everything Hitchcock could only hint at<\/a>, Psycho<\/em>\u2019s carefully edited, non-revealing shower-slasher sequence seems just as tame as the other once-transgressive, now-quaint elements that gave studio censors fits in 1960, like the gasp-inducing shot of a flushing toilet<\/a>, or the opening-scene implication that a non-married couple has recently had scandalously non-married sex.<\/p>\n

But Psycho <\/em>isn\u2019t a movie to watch for shocks, not after decades of other movies mining all Hitchcock\u2019s innovations, and putting new spins on them. (Consider the mid-film protagonist-switch in Zach Cregger\u2019s 2022 horror hit Barbarian<\/em><\/a>, for instance, and how it borrows from Psycho<\/em>\u2019s structure.) Instead, it\u2019s worth watching for the performances, the writing, the clever foreshadowing and tension-building, and above all, the creepy, indelible framing around Anthony Perkins as hotel proprietor Norman Bates.<\/p>\n

\"close-up<\/p>\n

In particular, the quietly ominous scene where Norman sits down to chat with newly checked-in guest Marion Crane (Janet Leigh) about the \u201cprivate traps\u201d people build around themselves, then \u201cscratch and claw\u201d at without ever escaping, is a master class in character-building. It\u2019s a terrific, queasy short melodrama that stands on its own even today. It\u2019s also one of the many parts of Psycho <\/em>that\u2019s enhanced, rather than spoiled, by knowing where this story is going. <\/p>\n

And the famous murder sequence still has a frightening power, when it\u2019s viewed within the context of the story Hitchcock is telling. Out of context, it feels dated \u2014\u00a0but it plays differently when it comes after the slow-burn, intense build of Norman and Marion\u2019s fleeting connection, the framing of the crime she commits before coming to his hotel, and the weight of all the things the audience learns about the stranger who\u2019s watching and evaluating Marian from the moment she enters his orbit. <\/p>\n

If you only know Psycho<\/em>\u2019s most famous, most culturally echoed moments \u2014\u00a0or if you\u2019ve forgotten the rest of it because it\u2019s been a while since you went back \u2014 <\/em>the film is surprisingly satisfying and unpackable as a standalone movie experience, instead of as an Important Classic or grandfather-of-horror homework experience.<\/p>\n

Frenzy, rated R and rightfully so<\/h2>\n

It\u2019s hard to say the same of Hitchcock\u2019s 1972 movie Frenzy<\/em>, his only other R-rated project (in this case, justly rated R on release), one of his oddest movies, and another recent Netflix streaming addition. While Frenzy<\/em> was adapted from Arthur La Bern\u2019s 1966 novel<\/a>, in many ways it plays as a stealth remake of Psycho <\/em>for a much less rigid and easily offended age of cinema, and a much more lurid, permissive one.<\/p>\n

Hitchcock made Psycho <\/em>in the waning days of the Hays Code<\/a>, the moral rules Hollywood imposed on movies to avoid government censorship. The Code mandated that evil acts must always be punished, Sunday school morals must be respected, and women in romantic scenes must always keep one foot on the floor<\/a>. But even though Frenzy<\/em> came only 12 years later, it was made in an age heavily influenced by Psycho<\/em> and other boundary-pushing cinema: the era of exploitation cinema<\/a> and giallo horror<\/a>, an era where Frenzy<\/em>\u2019s protracted on-screen rape led to rave reviews<\/a> instead of Hollywood blacklisting.<\/p>\n

\"\"<\/p>\n

Even so, Frenzy<\/em>\u2019s beats are familiar from Psycho<\/em>. Once again, there\u2019s a serial murderer on the loose, a man who appears harmless and even charming, but who secretly murders women out of a tortured mixture of lust, spite, jealousy, and sociopathy. As before, the centerpiece of the movie is a murder sequence that mixes horror and grotesque sexual titillation. Again, mouthpieces dutifully explain the villain\u2019s pathology to each other, and therefore the audience, in laughably stuffy hunks of undigested exposition. And then there\u2019s the investigation of the murder we just watched, though this time, the cops are on the case instead of a PI and a couple of amateurs. <\/p>\n

Some of the differences between Psycho<\/em> and Frenzy<\/em> are immediately obvious: Hitchcock made the former in black-and-white to save on budget, and it\u2019s small-scale and intimate, shot in just a few settings. Frenzy<\/em>, made in sometimes garish color, is much more visually expansive, starting from the opening helicopter shot roaming up the Thames and finding a tour group by the riverbank. Where Psycho <\/em>is largely solemn or scary, Frenzy <\/em>occasionally veers into extremely odd morbid humor. Sometimes that humor is playful \u2014 one of the characters, a Scotland Yard inspector investigating the movie\u2019s central murders, is the center of a running gag where his wife keeps experimenting with fancy, unappealing French food, when he\u2019d prefer simple steak and sausage. Other gags just feel distasteful, particularly the sequence where the killer wrestles with the stiffened naked corpse of one of his victims, and keeps getting a rigor-mortis-ified foot in his face.<\/p>\n

But the real difference is in the permissiveness in Frenzy<\/em>\u2019s filmmaking, and the leering exploitation angles Hitchcock leans into. The director famously wrestled with the Production Code Administration office<\/a> over small details in Psycho<\/em>, where the censors complained they could see a hint of Janet Leigh\u2019s out-of-focus breasts during the shower scene, and forced Hitchcock to shorten shots of Norman Bates looking through a peephole as Marion undresses. They also objected to the suggestion of premarital sex at the beginning of the movie. Reportedly, a single shot in the shooting script would have also included a shot of Marion\u2019s corpse that would have briefly shown her buttocks.<\/p>\n

\"A<\/p>\n

Compare all this to Frenzy<\/em>, where the open sequence features a woman\u2019s naked corpse bobbing down the Thames, bare ass flashing in the sun, breasts exposed as the policeman haul her out. There\u2019s a disturbing, in-depth (albeit somewhat carefully visually coded) rape sequence midway through the movie, and a number of naked female corpses. In Psycho<\/em>, Hitchcock handles his murders with a certain sympathetic gravitas. Frenzy <\/em>is a much more leering movie that sometimes feels completely miscalculated \u2014 particularly in the ridiculous shot of a woman just after her rape and strangulation. With her eyes bugged out and her tongue protruding at a weird angle, she doesn\u2019t evoke the tragedy of loss, like Marion lying dead in the shower: She looks like she\u2019s making a goofy face at someone behind the camera, like she\u2019s trying to entertain a small, fussy child.<\/p>\n

Frenzy<\/em> isn\u2019t entirely lacking in value: Its \u201cwrong man accused\u201d plot is more complicated and nuanced than most of Hitchcock\u2019s wrong-man movies, particularly since the wrong man in this case is almost as frightening as the killer. Down-on-his-luck military vet Richard Blaney (Jon Finch) is bad-tempered, short-sighted, and abusive toward his supposed closest friends and loved ones. As a noose of circumstantial evidence against him tightens around his neck, his choices are selfish and sometimes cruel. His increasing rage and frustration gives the movie a sense of bite it needs, though, when it sometimes gets too languorous to maintain its tension. <\/p>\n

Ultimately, though, Frenzy <\/em>is most compelling as a movie when seen alongside Psycho<\/em>, with the two movies in conversation. They\u2019re the perfect illustration of how much and how fast American cinema changed from the 1960s to the 1970s, and how differently Alfred Hitchcock expressed the same goals and tastes in horror over the course of his career. Netflix\u2019s Hitchcock collection is a perfect chance to catch up with his work, but there\u2019s no better illustration of his highs and lows than this particular before-and-after double feature. It\u2019s a film-history education in just two movies, a handful of radically differently styled murders, and a couple of director cameos.<\/p>\n

\n

Psycho and <\/em>Frenzy are both streaming now on Netflix.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Ask five random people to name one Alfred Hitchcock movie, and chances are good they\u2019ll all say Psycho first, whether they\u2019re\u00a0 classic-movie superfans who could name all his works going back to the British silent-movie days, or they couldn\u2019t pick Hitch out of a crowd in one of his famous director\u2019s cameos. You could argue all day with those people about whether Psycho is Hitchcock\u2019s best movie, but it\u2019d be hard to claim that anything else in his filmography has had more cultural impact or lasting reach, both on horror movies and on cinematic storytelling in general. But while endless essays have been written about how Psycho\u2019s boundary-pushing, censor-baiting action changed moviemaking, and while its biggest twists and famous central shower-murder scene have been so…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1230943,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1230942","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nHitchcock\u2019s only R-rated movies are on Netflix and make a wild double feature | Arcader News<\/title>\n<meta name=\"description\" content=\"Ask five random people to name one Alfred Hitchcock movie, and chances are good they\u2019ll all say Psycho first, whether they\u2019re\u00a0 classic-movie superfans who\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/hitchcocks-only-r-rated-movies-are-on-netflix-and-make-a-wild-double-feature\/\" \/>\n<meta property=\"og:locale\" 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