Psychics in police service An elderly lady Julia Rainbert suffers from insomnia, and as soon as she falls asleep for a while, she begins to torment nightmares. Desperate, she goes to a psychic - a young girl named Blanche. The fact is that no pills will help if the conscience is troubled, and Julia has her skeletons in the closet. Forty years ago, Harriet, Julia's sister, gave birth to a child and immediately broke up with him. Julia insisted that the illegitimate boy disappear from their home and their memory. But now the old woman wants to find her nephew and provide him with money, because she admits that she did not act in a Christian way. If Blanche tracks down a missing relative, she will receive a $10,000 reward. It would seem that for a psychic this is one thing to spit, but there is one problem. Blanche is a charlatan, and information about customers is leaked to her by a friend-taxi driver. But for such money, the couple agree to be Holmes and Watson - you do not need to dive into the astral every time you look for a person!
In parallel with the search for Blanche and Lumley, another storyline unfolds. Tall blonde in dark glasses, like Lady Gaga, receives a ransom for a kidnapped rich man - a huge diamond. This is how Frances and her partner Arthur make a living: they kidnap people who obviously have a decent fortune and exchange them for diamonds. Arthur is a jeweler by profession, so he really knows about stones, besides, the police not only do not suspect him, but even ask for help. Frances is a little nervous - she does not like the role of Bonnie, and Arthur is far from Clyde. But the next case will definitely be her last, she tells herself, and it helps her calm down.
How will these two lines intertwine (and there can be no doubt that this will happen)? Knowing Hitchcock, one should expect very non-trivial intricacies. Minute by minute, demonstrating that fortune teller with a taxi driver, wandering into the wilds of investigation to the ears of the diamond hunters, the master of suspense does what he knows best - escalates the situation. Even when disparate facts add up to a single picture, it does not become easier to breathe: yes, now we know everything, but family ties in the past, from now on we are interested in another – who will prevail? Putting everything on the shelves, as always, Hitchcock, however, tries not to delay the action. “Family Conspiracy” turned out to be much more dynamic than many of his other works: there is always something happening. And if you need to dilute the action slightly, then Blanche is always at hand - her "communication sessions" are a hilarious sight. At times, this lady begins to unnerve her boundless infantility, especially when her brave friend Lumley tries to cope with the control of the car without brakes, driving down the serpentine at breakneck speed, and she throws her feet on his head in fear. But in the end, she will have to say goodbye to carelessness, and at the end of the film, Blanche will even show remarkable courage.
If Hitchcock knew this would be his last painting, he'd probably polish it better. But even in this form, it is a worthy end to his career.