While Dial M for Murder is not a top-tier Hitchcock film, it has its merits. It is a tense thriller with a romping plot and a slimy villain. Its attempted murder scene, with John Williams’s strangler attempting to choke Grace Kelly, is memorable.
Though based on a play, Hitchcock keeps the action moving without letting interest slacken. He also tries, but fails, to break up the script’s slabs of exposition with interesting camera angles.
Starring Ray Milland
Ray Milland and Grace Kelly make this a riveting drama. Ray plays an ex-tennis pro who discovers that his wife, Margot, is having an affair with her new boyfriend. He blackmails an old acquaintance (Anthony Dawson) to carry out a murder-for-hire scheme, but things go awry. The movie was originally shot in 3-D, but interest in the process had waned by 1954. Hitchcock wisely opted to avoid the standard in-your-face gimmickry of most 3D films, though he did utilize the technique for visual emphasis in a few scenes.
This film is a classic from one of the most inventive filmmakers in history. The cast is amazing, the cinematography is breathtaking and the story is tense and intriguing. Despite not being his best work, it is well worth the watch.
Directed by Alfred Hitchcock
Despite being not as highly-acclaimed as some of Hitchcock’s other films, Dial M for Murder is still an important work that showcases his mastery of suspense. The film’s gripping plot and unforgettable performances continue to captivate audiences decades after its initial release.
The movie takes place in a single room, allowing the audience to observe all the drama unfold from the comfort of their seats. It also allows the director to play with voyeurism and the concept of masks, as well as explore the themes of deception and betrayal.
Hitchcock experimented with narratives that confined the audience to one room before in Rope (1948) and Lifeboat (44). He used the same method in this vumoo alternative but with more success, because it has a romping plot and a gloriously slimy villain.
Written by Frederick Knott
Frederick Knott was a prolific stage playwright and screenwriter. He wrote Dial M for Murder in 1954 and adapted it into the film Wait Until Dark (1967). He was also a screenwriter for several other films. The story revolves around a former tennis star, Tony Wendice, who tries to murder his wife so that he can get her inheritance. He blackmails a con artist to do the job, but it doesn’t go as planned.
Although the screenplay is not Hitchcock’s finest, it is still a well-crafted piece of work. It is paced well, and it has a thrilling climax. Knott has created one of the theater’s most memorable sociopathic villains in the self-pitying, money-grubbing Wendice. The dialogue is witty and well-delivered by the cast.
Starring Grace Kelly
The movie’s star, Grace Kelly, is absolutely dazzling. She manages to bring a sense of depth to the character even though it’s an extremely small part. She also shines in the scenes that have her interacting with her husband. The scene where she discovers that he’s having an affair with the novelist is particularly effective and makes you really care about her. The acting from Ray Milland is also excellent.
Olivier Dahan has a strong track record with French drama and his 2007 Edith Piaf biopic La Vie En Rose won critical raves and a mountain of awards. However, in attempting to capture the essence of Princess Grace’s tumultuous early years as Monaco’s sovereign, he’s made a film that’s mannered and lightweight. It’s also a bit too focused on one narrow scenario from Kelly’s life.
Based on a play
A classic story of infidelity, murder, and revenge, Dial M for Murder is a gripping film that has captivated audiences since its release in 1954. Directed by Alfred Hitchcock, the movie stars Ray Milland and Grace Kelly in unforgettable performances that capture the complexities of their characters. Its expertly-crafted suspense and intricate plot has become a staple in the history of cinema.
Hitchcock had reservations about directing a film version of the play, but he changed his mind after seeing the success of Rear Window. He uses every tool at his disposal to heighten the tension and drama, including claustrophobic sets, a sprinkling of props, and sudden bursts of nerve-jangling bebop jazz. Despite the fact that it is dialogue heavy, the film is paced well and delivers a thrilling climax. The film also showcases a talented cast and masterful use of lighting and camera angles.
