Family Plot (1976) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Lighthearted suspense film about a phony psychic/con artist and her taxi driver/private investigator boyfriend who encounter a pair of serial kidnappers while trailing a missing heir in California. Director: From $2.99 (SD) on Amazon Video ON TV a list of 36 titles created 02 May 2011 a list of 27 titles created 12 Jun 2012 a list of 40 titles created 09 Jan 2013 a list of 34 titles created 06 Oct 2013 a list of 40 titles created 05 Jan 2014 Search for " Family Plot " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Golden Globe. Another 2 wins & 4 nominations.

See more awards » Videos A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to break up an international Russian spy ring. Director: Alfred Hitchcock A serial murderer is strangling women with a necktie. The London police have a suspect, but he is the wrong man. Director: Alfred Hitchcock An American scientist publicly defects to East Germany as part of a cloak and dagger mission to find the solution for a formula resin before planning an escape back to the West. Director: Alfred Hitchcock Mark marries Marnie although she is a habitual thief and has serious psychological problems, and tries to help her confront and resolve them. Director: Alfred Hitchcock The trouble with Harry is that he's dead, and everyone seems to have a different idea of what needs to be done with his body... Director: Alfred Hitchcock A family vacationing in Morocco accidentally stumble on to an assassination plot and the conspirators are determined to prevent them from interfering. Director: Alfred Hitchcock Aircraft factory worker Barry Kane goes on the run across the United States when he is wrongly accused of starting a fire that killed his best friend.

Director: Alfred Hitchcock True story of an innocent man mistaken for a criminal. Director: Alfred Hitchcock A priest who comes under suspicion for murder cannot clear his name without breaking the seal of the confessional. Director: Alfred Hitchcock A young woman discovers her visiting uncle may not be the man he seems to be. Director: Alfred Hitchcock A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people. Director: Alfred Hitchcock When a reformed jewel thief is suspected of returning to his former occupation, he must ferret out the real thief in order to prove his innocence. Director: Alfred Hitchcock Edit Storyline The trickster Madam Blanche Tyler lures the elder millionaire Julia Rainbird that believes she is a spiritualist. After a séance, she discovers that Julia is tormented by her past, when she forced her sister and single mother Harriet to deliver her baby for adoption to avoid a family scandal. Julia promises the small fortune of ten thousand-dollar to Blanche if she finds her nephew and heir of her fortune using her phony powers.

Blanche asks her boyfriend George Lumley, who is an unemployed actor working as cab driver, to investigate the whereabouts of Julia's nephew. Meanwhile, the greedy jeweler and collector Arthur Adamson kidnaps wealthy people with his girlfriend Fran to increase his collection of diamonds with the ransom. When George concludes that Arthur Adamson might be the heir of Julia Rainbird, the reckless Blanche gets in trouble with the kidnappers. Written by Claudio Carvalho, Rio de Janeiro, Brazil You must see it twice! See more » Genres: 9 April 1976 (USA) See more » Also Known As: Did You Know? Trivia Jack Nicholson couldn't accept the role of George Lumley, as he was doing One Flew Over the Cuckoo's Nest (1975). See more » Goofs During the scene where Maloney and Adamson are in the back room of the jewelry store, Maloney takes all but two cigarettes from the cigarette bowl. However, minutes later, the bowl is full again. See more » Quotes Fran : I don't know what's come over me tonight. I'm tingling all over. Arthur Adamson : I told you about danger, didn't I?

First it makes you sick, then when you get through it, it makes you very, very loving. The Universal logo does not appear anywhere on this film. See more » Connections Rejoice, the Lord Is King (1744) (uncredited) No, not great Hitchcock, but entertaining nonetheless 17 March 2001 | by zetes (Saint Paul, MN) – See all my reviews Family Plot differs from all the other Hitchcock films. It lacks suspense, for the most part, and it is not as funny as many of his films. Instead, it is just an amusing little yarn. I like the way the film starts with two separate plot lines which gradually merge. Even if it is not the most original thing in the world (especially since two of Family Plot's stars were main players in Robert Altman's Nashville), it still makes the film interesting. If anyone else had made this film, it probably would be more fondly received by the public, although I doubt anyone would still be watching it today. The two characters with whom we begin the film, whom we would consider the heroes, are the best, and are played lovingly by Barbara Harris and Bruce Dern.

She's a hack psychic milking old ladies out of pensions, and he's a cabbie who cannot find enough time both to drive his cab and participate in Harris' schemes. Although the characters aren't as well developed as those in numerous other Hitchcock ventures, they're entertaining. The other couple, Karen Black and William Devane, fare less well. They're more crafty in their crimes, perpetrating large-scale kidnappings for enormous ransoms. Karen Black's character is very underdeveloped, hardly showing any depth. What character she does have is not entirely believable, since Karen Black seems too nice to play a hardcore criminal. William Devane is decent as the sinister mastermind, but the history provided to his character is far more brutal than is believable (he locked his adopted parents in their bedroom and set fire to their house). I liked the idea of the small time crooks clashing with the professionals, and I liked the outcome of the film. All in all, it is decent and worth watching. It does not feel anything like a Hitchcock film, so I wouldn't expect anything like Vertigo or Rear Window when approaching this, his swan song.

7/10 40 of 47 people found this review helpful. Was this review helpful to you? Yes Super Reviewer ½ This was Hitchcock's final film, and, as far as this sort of thing goes, I suppose it could have been worse. The plot is a convoluted and sometimes confusing lighthearted mystery romp involving 'psychics', kidnapping, ransom, and, of course, the dead (or presumed to be). It's not as funny as maybe it should be, and, while I am okay with humor, I think this might have been far more effective and interesting if it was played darker and more serious. Don't get me wrong, it's interesting stuff, but I think it could have been even more so if done differently. I liked Karen Black and Bruce Dern, and, while the not as notable cast (at that time) are fine, I think this would have been better if it had some major star power behind it. The music by John Williams is pretty good, and the film has a nice look to it, but I can just tell that Hitch was probably not trying all that hard here.

I know it's cliche to rant about the dip in quality of his later work, but all things considered, this could have been far, far worse. This might be lesser Hitch, but it's still kinda decent, so sure, give it a watch. Chris Weber Super Reviewer ½ An appropriate swan song for Alfred Hitchcock's career, Family Plot is light and thoroughly entertaining. It's a clever mystery involving multiple identities and ensuing confusion with the master's comedic touches as well. Family Plot may not seem typical Hitchcock to some, but it reminds me of The Trouble with Harry as a few others. Those only familiar with Psycho and Vertigo would be surprised at his amazingly varied career. Remember how funny Hitch was on his TV show. Family Plot is cast well. I love the chemistry, especially the verbal jabbing, between Barbara Harris and Bruce Dern. William Devane is perfect as the debonair jeweler and kidnapper hiding a dangerous past. Ed Lauter's great too; he usually plays a jerk (think Longest Yard), but here he's even creepier. This film is a greatly nuanced comedy about death. It's a nice contrast with AH's previous film, the R-rated shocker Frenzy.

Considered together, I think they typify his career. This isn't deep philosophy, its entertainment. As the master stated, "drama is life with the dull bits left out." Clintus Maximus Super Reviewer ½ Arthur Adamson: Isn't it touching how a perfect murder has kept our friendship alive all these years. "There's no body in the family plot." Family Plot is a pretty good going out party for the Master, Alfred Hitchcock. It's lesser Hitchcock for sure, but lesser Hitchcock is still pretty damn good. This film brings together a lot of Hitchcock's signature techniques and wraps them up nicely in two hours. Now, years after being made, Family Plot is a pretty good introduction to Hitchcock. It wouldn't be a bad movie to watch first, before diving into his several masterpieces like Psycho and Vertigo. The movie follows a couple, one a phony psychic and the other, a taxi driver who is a pretty good little investigator. Blanche(the psychic) is asked to locate a family heir who has been missing for several years. Her and Lumley(the taxi driver) don't have to much to go by, but they soon start following up leads which lead them to another couple.

These two are jewel thieves and one has a huge secret. The film brings the two couples together in a smart and intricate way. Hitchcock, like usual, doesn't try to keep major details from us. He let's us in on all the secrets and let's the suspense build from the characters mission to find out what we already know. There's a reason he is known as the "Master of Suspense." He knows how to build it. He knew that suspense isn't built by surprises, but by knowing what's going on, but not what's going to happen. Sure, this isn't the greatest example of that in his work, but it is still a good one. He's not into huge plot twists at the end. Think how Psycho would have turned out in another director's hands. We sure wouldn't have been let in on the Norman Bates/Mother thing that early. There's one thing I have a problem with and it is a dumb ending. I didn't care for it, but it didn't ruin the movie either. Overall, Family Plot is just another solid thriller from Hitchcock. Nothing out of the ordinary there.

Melvin White Greatest Film Directors and Their Best Films (Alphabetical Order, Unranked) ROGER CORMAN 1926- Extremely Prolific King (Producer and Director) of the Independents and Classic, Tacky, Low-Budget B's (Horror and Sci-Fi) and Drive-In Movies Suggested Filmography: Swamp Women (1955), The Day the World Ended (1956), It Conquered the World (1956), Not of This Earth (1957), The Undead (1957), Attack of the Crab Monsters (1957), Sorority Girl (1957), Machine-Gun Kelly (1958), A Bucket of Blood (1959), House of Usher (1960), The Little Shop of Horrors (1960), The Wasp Woman (1960), The Intruder (1961), The Pit and the Pendulum (1961), The Premature Burial (1962), Tales of Terror (1962), X - The Man With the X-Ray Eyes (1963), The Haunted Palace (

1963), The Raven (1963), The Terror (1963), The Masque of the Red Death (1964), The Tomb of Ligeia (1965), The Wild Angels (1966), The St.

Valentine's Day Massacre (1967), The Trip (1967), Bloody Mama (1970), Death Race 2000 (1975), Frankenstein Unbound (1990). DAVID CRONENBERG 1943- GEORGE CUKOR 1899-1983 Cosmopolitan, Refined "Woman's" Director During 50 Year Career Wit and class distinguish his sophisticated pictures, which star Katharine and Audrey Hepburn and Greta Garbo. Suggested Filmography: A Bill of Divorcement (1932), One Hour With You (1932), What Price Hollywood?

(1932), Little Women (1933) , Dinner at Eight (1933) , David Copperfield (1935), Camille (1936) , Romeo and Juliet (1936), Sylvia Scarlett (1936), Holiday (1938), The Adventures of Tom Sawyer (1938), Gone With The Wind (1939) (partial), The Women (1939), The Philadelphia Story (1940) , Keeper of the Flame (1942), Gaslight (1944) , A Double Life (1947), Adam's Rib (1949) , Born Yesterday (1950), The Marrying Kind (1952), Pat and Mike (1952), A Star is Born (1954) , It Should Happen to You (1954), Lust for Life (1956) (co-director, uncredited), Bhowani Junction (1956), Les Girls (1957), Let's Make Love (1960), My Fair Lady (1964) , Travels With My

 Aunt (1972), Rich and Famous (1981).

MICHAEL CURTIZ 1888-1962 Hollywood's Most Prolific, Skilled and Colorful Hungarian-born Director of the 30s and 40s He made Casablanca and Elvis Presley's King Creole, along with dozens of movies in every genre, from action to horror to melodrama.

Suggested Filmography: Cabin in the Cotton (1932) , Doctor X (1932), The Kennel Murder Case (1933), The Mystery of the Wax Museum (1933), Captain Blood (1935), The Charge of the Light Brigade (1936), The Walking Dead (1936), Anthony Adverse (1936), Kid Galahad (1937), Marked Woman (1937), The Adventures of Robin Hood (1938) , Angels With Dirty Faces (1938) , Four Daughters (1938), Dodge City (1939), The Private Lives of Elizabeth and Essex (1939), Santa Fe Trail (1940), The Sea Hawk (1940), Virginia City (1940), The Sea Wolf (1941), Yankee Doodle Dandy (1942) , Casablanca (1942) , This is the Army (1943), Passage to Marseille (1944), Mildred Pierce (1945) , Night and Day (1946), Life With Father

 (1947), The Unsuspected (1947), My Dream Is Yours (1949), Flamingo Road (1949), Young Man With a Horn (1950), Jim Thorpe - All American (1951), The Egyptian (1954), White Christmas (1954), We're No Angels (1955), The Proud Rebel (1958), King Creole (1958), The Adventures of Huckleberry Finn (1960), The Comancheros (1961).

CECIL B. DE MILLE 1881-1959 Master Director and "Showman" of the Big Budget, Excessive Historical Epic and Religious Spectacle/Pageant He was the first master of big-budget event movies, with two The Ten Commandments films and The Greatest Show on Earth. Suggested Filmography: The Squaw Man (in three versions 1914, 1918, 1931), The Cheat (1915), Joan the Woman (1916), Male and Female (1919), Forbidden Fruit (1921), The Ten Commandments (1923), The King of Kings (1927), Madam Satan (1930), The Sign of the Cross (1932), Cleopatra (1934) , The Crusades (1935), The Plainsman (1936), The Buccaneer (1938), Union Pacific (1939), North West Mounted Police (1940), Reap the Wild Wind (1942), The Story of Dr.

Wassell (1944), Unconquered (1947), Samson and Delilah (1949), The Greatest Show on Earth (1952), The Ten Commandments (1956) .

# 45 JONATHAN DEMME 1944- Hip, Critically-Admired and Mainstream Director of Quirky and Dramatic Tales in the 80s and 90s Suggested Filmography: Caged Heat (1974), Crazy Mama (1975), Last Embrace (1979), Melvin and Howard (1980), Stop Making Sense (1984), Swing Shift (1984), Something Wild (1986), Swimming to Cambodia (1987), Married to the Mob (1988), The Silence of the Lambs (1991) , Philadelphia (1993), Beloved (1998), The Truth About Charlie (2002), The Manchurian Candidate (2004), Neil Young: Heart of Gold (2006), Jimmy Carter: Man From Plains (2007), Rachel Getting Married (2008), Ricki and the Flash (2015).

# 27 BRIAN DE PALMA 1940- Dynamic Director of Lurid, Excessive, Psychological Thrillers/Melodramas With Hitchcock-Like Style A seventies film-school prodigy, he made Carrie and Scarface but specialized in Hitchcockian thrillers like Dressed to Kill and Body Double. Suggested Filmography: Greetings (1968), Hi, Mom!

(1970), Sisters (1973), Phantom of the Paradise (1974), Carrie (1976), Obsession (1976), The Fury (1978), Dressed To Kill (1980), Blow Out (1981), Scarface (1983), Body Double (1984), Wise Guys (1986), The Untouchables (1987), Casualties of War (1989), The Bonfire of the Vanities (1990), Raising Cain (1992), Carlito's Way (1993), Mission: Impossible (1996), Snake Eyes (1998), Mission to Mars (2000), Femme Fatale (2002), The Black Dahlia (2006), Redacted (2007), Passion (2012).

WALT DISNEY 1901-1966 Visionary and Producer of Major Entertainment Empire and Film Art-Animation Suggested Filmography: Steamboat Willie (1928) (director), Flowers and Trees (1932), The Three Little Pigs (1933), CLINT EASTWOOD 1930- Versatile Actor/Producer Turned Director Noted Originally as TV Actor and Star of Italian-Made "Spaghetti" Westerns The TV actor turned spaghetti-Western star became an A-list director with Unforgiven, Mystic River, and Million Dollar Baby.

Suggested Filmography: Play Misty for Me (1971) , High Plains Drifter (1972), Breezy (1973), The Eiger Sanction (1975), The Outlaw-Josey Wales (1976), The Gauntlet (1977), Bronco Billy (1980), Firefox (1982), Honkytonk Man (1982), Sudden Impact (1983) , Pale Rider (1985), Heartbreak Ridge (1986), Bird (1988), The Rookie (1990), White Hunter, Black Heart (1990), Unforgiven (1992) , A Perfect World (1993), The Bridges of Madison County (1995), Absolute Power (1997), Midnight in the Garden of Good and Evil (1997), True Crime (1999), Space Cowboys (2000), Mystic River (2003), Million Dollar Baby (2004), Flags of Our Fathers (2006), Letters from Iwo Jima (2006),

 Changeling (2008), Gran Torino (2008), Invictus (2009), Hereafter (2010), J.

Edgar (2011), Jersey Boys (2014), American Sniper (2014). # 29 SERGEI EISENSTEIN 1898-1948 Russian Director of Only Seven Films - Although Highly Influential Suggested Filmography: Strike (1924), Battleship Potemkin (1925), October/10 Days That Shook the World (1927), The General Line (1929), Que Viva Mexico! (1932), Alexander Nevsky (1938), Ivan the Terrible, Part One (1944), Ivan the Terrible, Part Two (1946).

# 10 FEDERICO FELLINI 1920-1993 Visionary, Surrealistic Italian Screenwriter and Director Suggested Filmography: Open City (1945), Paisan (1946), The White Sheik (1952), I Vitelloni (1953), La Strada (1954), Il Bidone (1955), Nights of Cabiria (1957), La Dolce Vita (1960), 8 1/2 (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Fellini's Roma (1972), Amarcord (1973).

VICTOR FLEMING 1883-1949 'Director' of Two of MGM's Greatest Films TERRY GILLIAM 1940- Former Monty Python Team Member, Contemporary Director of Bizarre Comedy-Fantasies Suggested Filmography: And Now For Something Completely Different (1971), Monty Python and the Holy Grail (1975), Jabberwocky (1977), Time Bandits (1981), Monty Python's The Meaning of Life (1983), Brazil (1985) , The Adventures of Baron Munchausen (1988), The Fisher King (1991), 12 Monkeys (1995), Fear and Loathing in Las Vegas (1998), The Brothers Grimm (2005), Tideland (2005), The Imaginarium of Doctor Parnassus (2009).

# 31 JEAN-LUC GODARD 1930- French Director, Noted as Ex-Cahiers du Cinema Critic and New Wave Filmmaker Suggested Filmography: Breathless (1959), Une Femme est une Femme (1960), Contempt (1963), Vivre sa Vie (1963), Band of Outsiders (1964), Alphaville (1965), Pierrot le fou (1965), Masculin Feminin (1966), Two or Three Things I Know About Her (1966), Weekend (1967), La Chinoise (1967), Numero Deux (1975), Every Man for Himself (1980), Passion (1982), Hail Mary (1985), Nouvelle Vague (1990), In Praise of Love (2001), Notre Musique (2004). # 15 D. W.

GRIFFITH 1875-1948 Cinema's First Major Artist, Landmark Story-Teller and Feature Film Maker, A Pioneering Silent Film-Maker Often Considered the 'Father of Modern Filmmaking' The father of modern moviemaking, he pioneered film language in such milestones as The Birth of a Nation and Intolerance.

Suggested Filmography: The Musketeers of Pig Alley (1912), The Girl and Her Trust (1912), Judith of Bethulia (1914), WERNER HERZOG 1942- German Director of the New German Cinema Movement Suggested Filmography: Signs of Life (1968), Land of Silence and Darkness (1971), Aguirre: The Wrath of God (1972), The Great Ecstasy of Woodcarver Steiner (1974), The Enigma of Kaspar Hauser (1975), Stroszek (1977), Woyzeck (1978), Nosferatu the Vampyre (1979), Fitzcarraldo (1982), Cobra Verde (1988), Lessons in Darkness (1992), The White Diamond (2004), Grizzly Man (2005), The Wild Blue Yonder (2005), Rescue Dawn (2006), Encounters at the End of the World (2007), The Bad Lieutenant: Port of Call - New Orleans (2009).

# 1 # 2 ALFRED HITCHCOCK 1899-1980 Acknowledged British Master of Manipulative Terror and Thrillers, Widely Known as the "Master of Suspense" and Arguably the Most Imitated Director of All Time; also Host of His Own TV Mystery Series A master of suspense and gallows humor, he turned out classic after classic, including Vertigo, Psycho, and The Birds. RON HOWARD 1954- Young Child Performer Turned Director Suggested Filmography: Night Shift (1982), Splash (1984), Cocoon (1985), Gung Ho (1986), Willow (1988), Parenthood (1989), Backdraft (1991), Far and Away (1992), The Paper (1994), Apollo 13 (1995), Ransom (1996), EdTV (1999), Dr.

Seuss' How the Grinch Stole Christmas (2000), A Beautiful Mind (2001), The Missing (2003), Cinderella Man (2005), The Da Vinci Code (2006), Frost/Nixon (2008), Angels & Demons (2009), Rush (2013), In the Heart of the Sea (2015). # 13 JOHN HUSTON 1906-1987 Legendary, Prodigious, Top-Notch American Director and Storyteller (also Actor and Scriptwriter) of Brilliantly-Crafted Films From All Genres Artistic, macho, and intellectual, Huston had a career spanning four decades, from The Maltese Falcon to Prizzi's Honor. Suggested Filmography: PETER JACKSON 1961- New Zealand-Born Director Best Known for The Lord of the Rings and Hobbitt Trilogies This New Zealand-born movie buff started small with the low-budget Bad Taste and worked his way up to the epic The Lord of the Rings and The Hobbit trilogies.

ELIA KAZAN 1909-2003 Controversial American Stage and Film Director of Gritty Psychological Dramas and Message Movies In A Streetcar Named Desire and On the Waterfront, this controversial director made gritty psychological dramas with resonance. Suggested Filmography: A Tree Grows in Brooklyn (1945), The Sea of Grass (1947), Gentleman's Agreement (1947), Boomerang! (1947), Pinky (1949), Panic in the Streets (1950), Trivia from 'Family Plot' - Hitchcock's Most Mormon Film U.S. Box Office: $13,200,000 Production budget: $3,000,000 Alfred Hitchcock is widely regarded as the great filmmaker in history. He grew up in a devoutly Catholic home in England, where he began his film career. He was already an accomplished director when he moved to Hollywood, where he would remain until the end of his career.

Among his best known films are four that the American Film Institute included on their year 2000 list of "100 Greatest Films" ever made in this country: Psycho; The Birds; Rear Window and North by Northwest. Family Plot (1976) was Hitchcock's last film. Oddly enough, it is also his most overtly Mormon film. One of the four main characters was apparently raised by Mormon parents. And in the graveside scene, the clergyman delivering the eulogy quotes eight consecutive verses from the Book of Mormon. Although Hitchcock's reasons for including references to the Church of Jesus Christ of Latter-day Saints may never be known, it is possible that part of the inspiration for the material came from the film's star Bruce Dern. The eulogy and Church reference may have been "inside jokes" derived from Dern's Utah heritage: Bruce Dern was the grandson of Utah governor George Dern. Hitchcock was fond of dropping subtle and meaningful details into his films. For example, if you look closely, you may notice that the character Blanche Tyler lives on the corner of Castle Heights and Bates.

The street sign is a fake one, placed there by the film's art director, and is an obvious allusion to the Bates Motel, the site of Hitcock's famous film Psycho. (The sign can be seen as Karen Black is walking toward by Tyler's home on the sidewalk, toward the car where awaits William Devane, when they first go to Tyler's house to see who is investigating Eddie Shoebridge.) Family Plot features other subtle, and not-so-subtle, allusions to previous Hitchcock films. For example, the frantic drive down the mountain in a car with no brakes is strongly reminscent of Cary Grant's inebriated drive in North by Northwest. The memorable and beautifully shot cemetary scene, in which George Lumley (played by Bruce Dern) confronts Joe Maloney's widow (Katherine Helmond), opens up with a group of about twenty-five people listening to a clergyman's graveside eulogy. He says some words specifically about the deceased (Joe Maloney, who was played by Ed Lauter). Maloney's widow sees George, and George starts to walk away, toward the Shoebridge grave. Mrs. Maloney quietly leaves the service and follows George, on a different, parallel path.

Hitchcock had been very specific about the layout for this scene, and insisted that it be shot with an overhead camera. The entire time that George and Mrs. Maloney are walking toward the Shoebridge grave, the clergyman can be heard quoting from the Book of Mormon. Specifically, he is quoting 2 Nephi 9:20-27. Of course, the passage is very appropriate for the film. Hitchcock paid meticulous attention to details on all his films: 20 O how great the holiness of our God! For he knoweth all things, and there is not anything save he knows it. 21 And he cometh into the world that he may save all men if they will hearken unto his voice; for behold, he suffereth the pains of all men, yea, the pains of every living creature, both men, women, and children, who belong to the family of Adam. 22 And he suffereth this that the resurrection might pass upon all men, that all might stand before him at the great and judgment day.

23 And he commandeth all men that they must repent, and be baptized in his name, having perfect faith in the Holy One of Israel, or they cannot be saved in the kingdom of God. 24 And if they will not repent and believe in his name, and be baptized in his name, and endure to the end, they must be damned; for the Lord God, the Holy One of Israel, has spoken it. 25 Wherefore, he has given a law; and where there is no law given there is no punishment; and where there is no punishment there is no condemnation; and where there is no condemnation the mercies of the Holy One of Israel have claim upon them, because of the atonement; for they are delivered by the power of him. 26 For the atonement satisfieth the demands of his justice upon all those who have not the law given to them, that they are delivered from that awful monster, death and hell, and the devil, and the lake of fire and brimstone, which is endless torment; and they are restored to that God who gave them breath, which is the Holy One of Israel.

27 But wo unto him that has the law given, yea, that has all the commandments of God, like unto us, and that transgresseth them, and that wasteth the days of his probation, for awful is his state! These verses from the Book of Mormon provide the primary accompaniment to the action of this scene, as the musical score is very faint or non-existent at this point. (Family Plot was scored by John Williams, who is today Hollywood's most famous composer, as he has worked on many major Lucas and Spielberg pictures such as the Star Wars and Jurassic Park films. At the time he scored Family Plot he was less well known, but Hitchcock had been impressed by his work on Jaws. Hitchcock was known for his close collaborations with composers--few directors entrusted so much importance to the score. Family Plot was the first film Williams scored for Hitchcock. It was also the last, as this was Hitchcock's last picture. It's unfortunate that there were no other collaborations between the two of them, because Williams' score for this film is delightful. It is also quite unlike anything else he has done.) All of the gravestones seen in the cemetary scene are fake, by the way.

The filmmakers did not want to risk claims by surviving relatives of actual deceased people. Having fun with the press, many of the names on the gravestones are actually names of entertainment reporters invited by Hitchcock to a press conference to the cemetary filming location for a press conference. George Lumley is also the character involved in the earlier scene that alludes to Latter-day Saints. George is searching for Edward Shoebridge who, by the time the film takes place, has changed his name to Arthur Adamson. Adamson, one of the film's four leads, was played by William Devane. (An interesting aside: Devane was originally unavailable for the project, and so Roy Thinnes was cast in the role. But when Devane unexpectedly became available, Hitchcock fired Thinnes, and reshot scenes that included the character. Thinnes was very unhappy about this, and, in one embarrasing incident, confronted Hitchcock about it in a crowded restaurant.) The adoptive parents of Edward Shoebridge/Arthur Adamson died in a house fire when he as a teenager -- a fire set by Maloney.

(Edward/Arthur was adopted while a baby, and it appears that at the time of his adoptive parents' death he did not know he was adopted. As an infant, Edward was baptized by an Episcopalian parson, before being given over for adoption to the Shoebridges.) The Latter-day Saint reference occurs while George is talking to the stonecarver who created the headstones for the Shoebridges: stonecarver: What year did you say the family died? George: Uhh... 1950. Family Plot Movie Review & Film Summary (1976) | Roger Ebert Tweet Alfred Hitchcock has always preferred visuals to dialog, yet "Family Plot" opens on a talkative note. A medium, the slightly spaced-out Madame Blanche, is holding a seance with an eccentric old lady. They're in the old lady's parlor, surrounded by antiques and heirlooms and an abundance of deep shadows, and the old lady is involved in this incredibly complicated tale about events of years ago. Advertisement It appears that her late sister had an illegitimate child and, times being what they were, the child was given up for adoption.

Then the sister died, and the child was lost track of, and now the old lady is afraid of dying and wants to make amends by willing her vast fortune to the child. Madame Blanche's assignment: Find the missing nephew. He'd be almost 40 now. If this were to be a routine story, the medium no doubt would recruit someone to play the missing nephew, and they'd share the vast fortune. But, no, this is a Hitchcock, so that would be far too simple. Madame Blanche does the unexpected thing: She sets out to find the nephew. And, as wonderfully played by Barbara Harris , she has such a sweet and simple faith in the possibility of everything that we almost think she's right. She enlists the aid of her rather slow-witted boy friend ( Bruce Dern ), a cabdriver and sometime actor. He'll do the detective work, she'll keep the old lady happy and they'll share a $10,000 reward. Now comes a nice touch. As Blanche and her boy friend drive home in a cab, they almost run down a woman. They miss and drive on, but the camera follows the woman.

She is, inevitably, the wife of none other than the missing nephew. And the two of them are involved in a series of kidnappings with precious jewels as the ransom. Advertisement The way Hitchcock cuts, just like that, from one pair to the other -- cheerfully flaunting the coincidence - reminds me a little of Luis Bunuel's recent " The Phantom of Liberty ." It's as if both directors, now in their 70s and in total command of their styles, have decided to dispense with explanations from time to time: Why waste time making things tiresomely plausible when you can simply present them as accomplished? "Family Plot" opens, as I've suggested, with a rather large amount of talking, but it's necessary to lay out the elements of the story. Hitchcock has a deviously complicated tale to tell, and he's going to tell it with labyrinthine detail, and he's not going to cheat -- so he wants to be sure we're following him.

It wouldn't be playing fair with his meticulously constructed plot to describe very much of what happens, but there's a real delight in watching him draw his two sets of characters closer and closer, until they meet in a conclusion that's typical Hitchcock: simultaneously unexpected and inevitable. But I can, I suppose, admire a scene or two. There's a moment in a graveyard, for example, when a gravedigger appears almost from out of "Hamlet" to regard a suspicious tombstone with the investigating cabdriver. Another moment in the same cemetery, as the cabdriver and a newly made widow stalk each other on grass paths, with Hitchcock shooting from above to make them seem captives of a maze. And a scene in a cathedral that's Hitchcock at his best: A bishop is kidnapped, and no one moves to interfere because... well, this is a church, after all. Advertisement As his kidnappers and jewel thieves, Hitchcock casts Karen Black and William Devane . She does a good job in a role that doesn't give her much to do, but Devane, whom I hadn't seen before, is inspired as the criminal mastermind and missing nephew.

He has a kind of quiet, pleasant, sinister charm; he's oily and smooth and ready to pounce. And his aura of evil contrasts nicely with Miss Harris and Dern, who have no idea what sorts of trouble they're in. "Family Plot" is, incredibly, Hitchcock's 53d film in a career that reaches back almost 50 years. And it's a delight for two contradictory reasons: because it's pure Hitchcock, with its meticulous construction and attention to detail, and because it's something new for Hitchcock -- a macabre comedy, essentially. He doesn't go for shock here, or for violent effects, but for the gradual tightening of a narrative noose. Everything's laid out for us and made clear, we understand the situation we can see where events are leading... and then, in the last 30 minutes, he springs one concealed trap after another, allowing his story to fold in upon itself, to twist and turn, and scare and amuse us with its clockwork irony.

Advertisement Download Family Plot (1976) YIFY Torrent for 1080p mp4 movie in yify-torrent.org Screenshots (click to view large image) The Reviews for Family Plot (1976) 1080p Underrated Hitchcock swansong (possible spoilers) Reviewed bychristopherbanksVote: 9/10 `Family Plot' is generally regarded as a disappointing entry into the Hitchcock canon, further burdened by the fact that it became his final film ? whereas other lighthearted Hitch pictures like `The Trouble With Harry' (another underrated gem) could be accepted for what they were, `Family Plot' buckles under the critical weight and expectation of what should constitute the final film of a cinema master. Once you throw all that in the bin, however, `Family Plot' is a marvellous, light-hearted comedy/thriller.

Hitchcock had begun, in his later films, to cast lesser-known actors because (a) having been established in the era of the studio system, he saw no need to pay exorbitant sums for actors whom he viewed as just as important in the film-making process as technical crew who were paid less and (b) he wanted to avoid the audience making assumptions about character based purely on who had been cast in a role. The performances of the four leads in `Family Plot' are consistently excellent. Barbara Harris is hilarious, showing touches of Madeleine Kahn in her role as fake psychic Blanche, Bruce Dern is endearing as her flakey sidekick Frank McBride, Karen Black brilliantly plays it straight-down-the-line (despite the silly disguises she wears) as a partner in crime to kidnapper-jeweler Arthur Adamson, played with deliciously subtle menace by William Devane. The music, provided by John Williams in a first-time collaboration with Hitchcock, works a treat, avoiding the bombastic overtones of some of his worst Hollywood-esque scores and harking back to the classic days of Bernard Herrmann.

Being drawn into the web of the intricate plot that sees these four characters being drawn together, and seeing the sparks fly in the witty dialogue (penned by `North by Northwest' screenwriter Ernest Lehman) is enough ? but the set pieces (a rollercoaster ride in an out-of-control car in the mountains, the kidnapping of a priest in the middle of a service, to name a few) elevate this film to a delightful popcorn experience that you will want to return to again ? there are subtleties and layers in the performances that will be guaranteed to keep you coming back for more. Murder Mystery as Comedy: last Hitchcock Film Reviewed byAlice Copeland Brown ( [email protected] )Vote: 9/10 Get ready for the tricks and suspense you've seen in other films, but be sure to get the commentary on DVD. Barbara Harris looks just like Hitchcock's daughter, as you'll see from the interview, just a younger version. A extra lesson: You will never get a facelift once you see the interviews with Karen Black. If she had allowed herself to age naturally, she would have been so much more attractive than the gargoyle you'll wince at seeing.

Here's a treat: the winding mountain road and no brakes scenario as never you've seen it. I loved the comic touches and the risque language. It is indeed a unique film. If you happen to love the mountain of California and San Francisco, you'll also love the cinematography. The stills are mostly of Hitchcock in the graveyard, which makes you wonder if he wasn't a little clairvoyant himself. The whole movie centers around a phony psychic and her attempt to cheat an old woman out of her money. In our cynical world of today, you'll expect them just to dress Dern up as the missing heir, but nope, they play it straight. Having read of Hitchcock's misogyny, you'll appreciate the cuts and slices between the lovers. Both pairs of grifters have their own love thing going. Rather touching to see the fidelity among the crooks. Inspired writing, indeed. Hitchcock did have a pacemaker installed while this movie was being made, so you have to wonder if his own thoughts of his impending death might have caused as much concentration on the graveyard scenes. Buy the DVD; the added features will make the movies itself 3 times more interesting.

No, not great Hitchcock, but entertaining nonetheless Reviewed byzetesVote: 7/10 Family Plot differs from all the other Hitchcock films. It lacks suspense, for the most part, and it is not as funny as many of his films. Instead, it is just an amusing little yarn. I like the way the film starts with two separate plot lines which gradually merge. Even if it is not the most original thing in the world (especially since two of Family Plot's stars were main players in Robert Altman's Nashville), it still makes the film interesting. If anyone else had made this film, it probably would be more fondly received by the public, although I doubt anyone would still be watching it today. The two characters with whom we begin the film, whom we would consider the heroes, are the best, and are played lovingly by Barbara Harris and Bruce Dern. She's a hack psychic milking old ladies out of pensions, and he's a cabbie who cannot find enough time both to drive his cab and participate in Harris' schemes. Although the characters aren't as well developed as those in numerous other Hitchcock ventures, they're entertaining. The other couple, Karen Black and William Devane, fare less well.

They're more crafty in their crimes, perpetrating large-scale kidnappings for enormous ransoms. Karen Black's character is very underdeveloped, hardly showing any depth. What character she does have is not entirely believable, since Karen Black seems too nice to play a hardcore criminal. William Devane is decent as the sinister mastermind, but the history provided to his character is far more brutal than is believable (he locked his adopted parents in their bedroom and set fire to their house). I liked the idea of the small time crooks clashing with the professionals, and I liked the outcome of the film. All in all, it is decent and worth watching. It does not feel anything like a Hitchcock film, so I wouldn't expect anything like Vertigo or Rear Window when approaching this, his swan song. 7/10 The Plot Summary for Family Plot (1976) 1080p The trickster Madam Blanche Tyler lures the elder millionaire Julia Rainbird that believes she is a spiritualist. After a séance, she discovers that Julia is tormented by her past, when she forced her sister and single mother Harriet to deliver her baby for adoption to avoid a family scandal.

Julia promises the small fortune of ten thousand-dollar to Blanche if she finds her nephew and heir of her fortune using her phony powers. Blanche asks her boyfriend George Lumley, who is an unemployed actor working as cab driver, to investigate the whereabouts of Julia's nephew. Meanwhile, the greedy jeweler and collector Arthur Adamson kidnaps wealthy people with his girlfriend Fran to increase his collection of diamonds with the ransom. When George concludes that Arthur Adamson might be the heir of Julia Rainbird, the reckless Blanche gets in trouble with the kidnappers. Director & Cast for Family Plot (1976) 1080p Family Plot (1976) - MUBI Family Plot 121 Synopsis Blanche, a phony psychic, is hired by wealthy Julia Rainbird to trace the whereabouts of her nephew, who’d been given up for adoption years earlier and is now heir to a fortune. This film is not currently playing on MUBI but 30 other great films are.

See what's now showing Family Plot 1976 | Winner: Top Ten Films Writers Guild of America 1977 | Nominee: Best Comedy Adapted from Another Medium (Screen) Golden Globes (USA) 1977 | Nominee: Best Actress in a Motion Picture - Comedy or Musical Edgar Allan Poe Awards Duncan Gray The last Hitchcock, and it's strangely fitting that after being hailed as an artist and a poet of the dark side of human psychology, his filmography ends on a free-spirited lark. He was, after all, a showman and an entertainer too. Not great, not bad, with several interesting choices and John Williams doing a Bernard Herrmann impression. I do miss when Hitchcock's innuendos had to be more thickly veiled, though.

Question: Which famous directors last film was 'Family Plot' in 1976?
Answer: Alfred Hitchcock