structural:reformatting, linguistic:translation, structural:expansion
Final films

Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain (1966) and Topaz (1969), the latter of which is based on a Leon Uris novel, partly set in Cuba. Both were spy thrillers with Cold War -related themes. Torn Curtain, with Paul Newman and Julie Andrews, precipitated the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock was unhappy with Herrmann's score and replaced him with John Addison, Jay Livingston and Ray Evans. Upon release, Torn Curtain was a box office disappointment, and Topaz was disliked by both critics and the studio.

Hitchcock returned to Britain to make his penultimate film, Frenzy (1972), based on the novel Goodbye Piccadilly, Farewell Leicester Square (1966). After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney (Jon Finch), a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk (Barry Foster). This time, Hitchcock makes the victim and villain kindreds, rather than opposites, as in Strangers on a Train.

In Frenzy, Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the head of the Motion Picture Production Code. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet, Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".

Family Plot (1976) was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris, a fraudulent spiritualist, and her taxi-driver lover Bruce Dern, making a living from her phony powers. While Family Plot was based on the Victor Canning novel The Rainbird Pattern (1972), the novel's tone is more sinister. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot.