Dial M for Murder
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Movie Reviews of Dial M for Murder
Movie Review: Dial "F" for Five Stars!
Summary: 5 Stars
Alfred Hitchcock's Dial M for Murder (1954)
(Released: 2004 by Warner Home Video)
Another (Not so long, this time!) DVD Review by Joe Torcivia
"When the batteries are running dry, take a hit play and shoot it."
With his typical understatement, director Alfred Hitchcock describes his efforts on another masterpiece, "Dial M for Murder", adapted from a famous stage play by author Fredrick Knott.
In it, husband Ray Milland plots the murder of wife Grace Kelly - who is having an affair with American mystery writer Robert Cummings.
Milland meticulously plans his crime to the finest detail, only to find that the best laid plans of mice and Millands often go astray. No more, lest we venture into "Spoiler Territory".
Despite the "star power" of its leads, the film is stolen by John Williams as Chief Inspector Hubbard, who cracks the case almost in the manner of a "British Columbo". Williams, who made a career of playing "stuffy old Englishmen", was something of a regular on the ALFRED HITCHCOCK PRESENTS television program - appearing in 10 episodes of the show!
In an ironic casting twist, Williams went from trapping a "wife murderer", to planning such a murder himself in the HITCHCOCK PRESENTS episode "The Three Dreams of Mr. Findlater" (1957). There, it is WILLIAMS' character who works out every deadly detail and somewhat ineptly attempts to carry out his scheme - with the assistance and urging of an attractive "island girl" who is the product of his daydreams.
Given the involvement of John Williams, and the fact that it was produced a scant three years after "Dial M for Murder", I would strongly suspect that "The Three Dreams of Mr. Findlater" was in some way inspired by the film.
As is our custom in these reviews, we'll break it into CONS and PROS.
The CONS:
If there were a "CON" to list, it would have to be that the Extra Features are adequate, but not plentiful, given this is a famous film by a legendary director.
Most notably, there is NO COMMENTARY TRACK to accompany this film! Surely, there are film historians and Hitchcock scholars capable of providing such a track.
The PROS:
The Film: Story, cast, and direction are all first rate. Print quality seems fine for a film of its age.
Menu Navigation: Menus are attractive and easy to navigate, with the "added fun" of depicting the "cursor", used to select the various options, as a PAIR OF SCISSORS! Those familiar with the film cannot help but smile at this little touch.
Extra Features:
"Hitchcock and Dial M" (Runs 21:33).
A "making of" documentary, that nicely covers the film, given the lack of a true commentary track. Participants include: Peter Bogdonovich, M. Night Shyamalan, Patricia Hitchcock (Alfred's daughter), Robert Osborne, Nat Benchley, Richard Franklin, and Richard Schickel. Oddly, it is the relative "youngster" Shyamalan who makes the most interesting and enthusiastic comments of the group.
"3D: A Brief History" (Runs 7:06).
To compete with the emerging medium of television, the makers and distributors of theatrical features offered color, widescreen/Cinemascope... and for a brief time in the mid-fifties "Three Dimensional Films".
Unbeknownst to me until viewing this feature, "Dial M for Murder" WAS released as a 3D film!
Watching the film WITH this knowledge, it becomes very clear. "Dial M for Murder" is shot in an unusual way (...which I merely attributed to the directorial quirks of "Hitchcock being Hitchcock"), where certain objects and characters exist in the EXTREME FOREGROUND, in comparison with the rest of the frame.
This technique is particularly apparent in the "attempted murder of Grace Kelly" scene. Both Kelly's arm and the aforementioned "pair of scissors" are intentionally "thrown back" toward the audience to maximize the effect. Again, I thought this was just the director's flair. It must have been great fun to see that way!
At the 54:05 point of the film's length of 1:45:16, there occurs an INTERMISSION - punctuated with the on-screen image of a TITLE CARD simply saying "Intermission".
I naturally thought that this was in keeping with "Dial M for Murder's" origins as a STAGE PLAY. In fact, it was because the 3D effect required TWO PROJECTORS, playing two slightly different synched versions of the film - and that both projectors needed to be RELOADED at that point. (Commonly, half a film would play on one projector and the other half would play on a second projector - but this process required both projectors to be "in service" at the same time!)
The 3D fad as a whole, its specific application to "Dial M for Murder", and the public's boredom with, and abandonment of, the craze and its requisite 3D Glasses are examined all in the space of a scant seven-plus minutes.
Participants in this feature include: Film historian: Robert Osborne, and Filmmakers: Joe Alves (Director of "JAWS 3D"), Peter Bogdonovich, and Richard Franklin (Director of "Psycho II").
Theatrical Trailer for "Dial M for Murder"
Golden Age Hollywood Movie Trailers were a unique art form all their own, and Warner Bros. made some of the best! One reason why was the melodramatic "Voice of Warner Bros" Robert C. Bruce. Bruce carries some - but not all - of the load here.
Overall:
This is a great film with a good selection of Extra Features. It is recommended for Hitchcock, murder, and suspense fans, and enthusiasts of the mid-fifties period.
Movie Review: Murderously charming...
Summary: 5 Stars
I've always thought Ray Milland was a fine actor, even though his choice of roles could, generously, be called eclectic; which is probably why we can enjoy him in this production, as well as such diverse offerings as the Noir Classic "The Big clock," "Lost Weekend," for which he deservedly won the Best Actor Oscar for his portrayal of a raging alcoholic, as well as "The Man With X-Ray Eyes," and... "The Thing With Two Heads!" But for me, the part of "Tony Wendice" in Hitchcock's "Dial M For Murder" is the quintessential Milland role, suave, debonair, urbane, and utterly, ruthlessly, murderously, charming!
Frederick Knott, adapting his own stage production, wrote the screenplay, and Hitchcock wisely chose to film the material "straight," without opening it up too much, but with one startling exception, which I'll come to later. As befits a stage production, the vast majority of "Dial M" takes place in just one location, Tony and Margot Wendice's living room, located in a genteel suburb of 1950's London.
The plot is deceptively simple; Tony is a retired Tennis Pro, being more-or-less supported by his wife Margot, played by a luminous Grace Kelly in an early film role. Tony's career meant that he was away for extended periods of time, playing in various tournaments, and during one of his absences Margot fell head-over-heals in love with an American writer visiting London. That was a year ago, and since then Tony has cold-bloodedly plotted to kill his wife, all the while playing the part of the devoted husband. But after a chance encounter he decides to blackmail an old acquaintance, a vaguely seedy con-man and womanizer, into committing the crime for him by following Tony's plan to the letter, a plan he claims is the "Perfect Murder."
Oh but it were; the plan may well have been perfect, but its execution - sorry! - is anything but. In a superbly staged scene the murder is bungled, and Tony arrives home to his shocked and near hysterical wife, very much alive, and the dead body of her assailant stretched out on the living room floor. Now you can see the wheels turning as a desperate Tony has to come up with a "Plan B" on the fly, and with the police on their way. As I said earlier, this is the quintessential Milland, and he plays the part of Tony with such relish and aplomb, that before you know it, you find yourself rooting for the cad; he's still trying to kill-off his wife, and you can't help hoping he gets away with it... an amazing performance!!!
"Dial M" has always been one of my favorite Hitchcock films; he seems to excel when working under almost impossible, self-imposed, restrictions. For other examples see the superlative "Rope" with James Stewart, and what is probably the most extreme example, the magnificent "Lifeboat" with Tallulah Bankhead. Here, as in the other two examples, we have a nail-biting thriller set in just one location, although there are a couple of external shots and a very brief, heavily stylized, "courtroom" scene.
But what sets this film apart from every other Hitchcock production is that it was made in 3D, a decision that was, apparently, forced on the director by the studio to cash in on the briefly popular craze. I'm lucky enough to have seen "Dial M" in the theatre in 3D, and while the main use of the process was usually to generate a cheap scare or giggle for the audience, Hitch made it his own by employing it with subtly and care.
Unlike almost all other 3D films from that time there're no monsters shambling towards us, no spears, chairs, or flaming meteors bursting from the screen. As you watch the film "flat" you'll notice that the camera often moves around the room looking "up" at the cast, and there's invariably a piece of furniture, a dresser or a table with a vase on it for instance, between the actor and the audience. Watching the film in 3D is really quite amazing, by taking this subtle approach Hitch is able to put us right into the room with the cast, and I often found myself trying to look "around" the furniture at the characters!
The one scene where Hitch really lets rip with the technique is the famous murder scene, where Margot is reaching behind her for the pair of scissors - there's a representation of the scene on the DVD cover artwork - and her hand appears to be coming out of the screen at you! (It's a shame that a 3D version of this film hasn't been issued on DVD, I'm sure that it would fit on a dual layer disc.)
Grace Kelly does sterling work as the betrayed Margot, Anthony Dawson is effective as "Swann" the murderer, although Robert Cummings is unfortunately bland as Margot's boyfriend "Mark." The only other actor who really shines is John Williams as "Chief Inspector Hubbard," who pays a visit to clear up a few details the following day. Williams' Hubbard is terribly "British," does not suffer fools gladly, and instinctively knows that the initial story of a killer coming in through the garden windows is a lie. Just as in Milland's portrayal, you can see the gears turning as he reasons events through; rather like Sherlock Holmes he discards what cannot be, and then by a process of deduction and elimination, whatever is left, no matter how improbable it seems, has to be the truth!
As I've indicated already, the film belongs to Milland, and the final scene where Tony discovers that the game is most certainly up will leave you smiling and shaking your head at the sheer nerve of the character, as that "murderous charm" shines like a thousand suns!!! This is a perfect gem of a film, "classic" Hitchcock, and I would recommend it highly.
Movie Review: I agree with DeRiemer's nitpicking
Summary: 5 Stars
Scissors would only have scratched the back of Sheila's attacker when swung from the angle she was at. It would have been better if a paper spike had been left on the desk, which would have got in deep enough at first for her to have pressed it home with a little subsequent twisting. It would have been a believably lethal weapon, like an ice pick. A shot or shots of Tony recklessly slamming bills and receipts down on it early in the film would have nicely foreshadowed coming events.
As for swapping Cummings and Milland, that's an adventurous thought that MIGHT have worked. (But it's hard to see Cummings so convincingly twisting the arm of the hired killer he'd recruited. Reviews rarely give adequate credit to this lengthy scene and the actor who played the killer, because it's not in the mainline of the plot, but it's a high point of the movie.) It's too bad Hitch didn't shoot the film BOTH ways, and given us a film with two psychological viewing angles, not just 3D's two physical angles.
One additional cavil is that there was too little information given on the married life of Tony & Sheila. What had so alienated Sheila from Tony that she'd begun an affair? Why did the American version lack any mention (that I recall) of Sheila's considering a divorce--and what were her reasons for this? Had Tony given her reasons to suspect he'd been unfaithful, perhaps before she decided to become adventurous too? Etc. There should have been a scene where Sheila and Mark talked such things over, to give us more of a feel for the marriage's emotional context and historical background. The film is a plot-driven puzzler that fails to involve the audience sufficiently because of its slighting of such matters. (But it still rates five stars.)
A second adventurous change that might have improved the movie would have been to let the viewers see the would-be murderer entering the flat and then slipping the key back under the staircase carpet. That way they'd be "clued in" to the central surprise-element in the plot, which normally is a big No-No. But here it might have worked, because the complexity of the plot is too great for most viewers to make sense of after the fact. Inspector Hubbard's explanation of the latchkey-switcheroo to Mark didn't really clear away the fog--most viewers were left more dazed than enlightened. (And this may have been the reason the film wasn't quite the hit it should have been. It didn't get enough word-of-mouth recommendations.)
I wonder if Hitch did shoot some just-in-case footage showing the door being opened and the key being replaced--in which case a version incorporating it could be included on the DVD; or the viewer could be given the option at the critical point to watch or not watch a "giveaway" scene, and the DVD software could then automatically splice it in. Even if Hitch didn't shoot it, that scene could actually be shot today, in semi-darkness and from a distance (from the front doorway), showing only the back of an actor of about the same dimensions as the original actor, and it would be adequate. I think most viewers would enjoy the movie more despite being "in the know" about the surprise ending.
Here's a wild idea: digitally edit the film to include the changes suggested above and re-release it as "Dial 'N' for Murder"! (N standing for New.) The viewer could chose to see either the old or new version (containing three scenes replacing old scenes). In the new version the scene where the scissors are placed on the desk would be cut, and the scissors on the desk in subsequent scenes would be digitally erased, while a paper spike would be superimposed. The hard part would be to digitally reanimate Mark & Margot talking for half a minute (extending their conversation while Tony is out of the room briefly), enabling them to provide the audience with key background info on the marriage situation and their feelings about it and each other.
There are probably other films that would appeal to a broader audience if they came with alternative plot twists and endings. (Akin to the appeal of "alternative history.") Call the alternative version(s) "Consumers' Cuts." I bet consumers' cuts could improve quite a few movies, although more changes would be needed to some of the sow's ears out there than the tiny tweaks I've suggested to this masterpiece.
PS: Director Stephen Soderbergh expresses similar thoughts (in "Wired," 12/05, p. 257): "I'd like to do multiple versions of the same film. ... People can see either or both."
Movie Review: A Perfect Murder?....NOT!
Summary: 5 Stars
This review refers to "Dial M For Murder",DVD,Warner Bros...
Aren't we lucky that cell phones weren't around in the 50's. Then Grace Kelly would never have had to leave her bed, to answer that potentialy fatal phone call in the living room.No matter how often you view this very suspense filled, thriller from Hitch, you still want to shout out to Grace Kelly."Look Out Grace...there's a murderer behind you!" That's one of the things I love about Hitch films. The connection to the characters, the need to help them. You practically want to get up and put those scissors in her hand, so she can protect herself from evil. Dial M has many of those moments, and is a superb classic that stands up to many repeat viewings.
Ray Milland has discovered his wife (Kelly) is having a love affair with Robert Cummings. Also she is the rich one in the family and he decides her time is up. He ropes in and hires a guy whose lifestyle makes for an easy blackmail mark. He's going to pay him 1000 pounds(well, after all it's only a few minutes work), and has it all worked out. Right down to the smallest detail. But uh-oh, the perfect plan starts unraveling almost the minute the plan is set in motion.The details start to go amiss, and don't stop until the end. Small things at first, a slow watch, phone troubles, the wrong person gets killed, you know little stuff like that! It is a joy to watch Ray Milland in action as he must explain away all of it to his wife and the police.
The film is a thing of beauty. Hitchcock made this film from a hit play, and filmed it in the same fashion. Most of the scenes are set in the confines of a small apartment. Hitch moves his actors around like the master he was. As mentioned Milland is a genius, Grace Kelly is wonderful as the good girl except for the little matter of the extra-marital affair. And of course we forgive her for this, because we too, like the Robert Cummings character better then the husband. Cummings also makes the most of his part. As a mystery writer, who knows the perfect murder can only happen in a book, he tries his hand at solving this mystery as well. John Williams, another favorite of Hitch's, is the Detective heading up the murder investigation. He's perfect as that Columbo type, who you know, that he knows what might have taken place, but needs to prove it. And it is fabulous to watch him put the pieces together.
Where's Hitch?....Where could he be in this film mostly made in one room. Ahhh..about 12 minutes in..the 'Picture' of innocence as he mugs for the camera at a class reunion.
The DVD is a good buy. Nice clear picture, and good colors. The colors are sometimes muted and sometimes striking. When Grace is being bad with her lover, she is in a red dress. I thought the sound was recorded a little low, I had to turn up the volume a little more then usual. It is presented in a Standard version format which preserves the original theatrical aspect ratio. Some really good features on this disc. A 20 minute documentary on how Hitch made this film, with other filmmakers admiring his work. A Brief History of 3D films, focusing on Dial M, mostly and showing the parts that were originally in 3D. Also a great trailer for the film.
also available on VHS:Dial M for Murder
A great addition to your Hitch collection...and always look behind you when answering the phone!..Enjoy...Laurie
more Hitch stuff:
The Trouble With Harry
Alfred Hitchcock Presents volume 2
Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C
Movie Review: Dial S for Suspense!
Summary: 5 Stars
After watching many of Hitchcock's early films (The Lodger, Strangers on a Train, etc.) I've come to truly appreciate his later works that many viewers are very familiar with: Dial M for Murder (as well as Rear Window) are his best suspense thrillers from the mid-1950s.
Speaking of Hollywood, they seem to have lost their step: where is the next Hitchcock, where are the suspense thrillers that amazed and astounded the audiences of a bygone era?
Hitchcock took a great play of the time and rather than "open" it, he shot it, as only Hitchcock could do. There was the 3D craze at the time (and you thought it was only recently, huh?) and so he shot a lot of the film with that in mind. The interposition of lamps, fences, people, scissors (!!) could also work in 3D as well as flat!
Ray Milland (The Lost Weekend) plays the tennis pro, retired, who discovered that his wife (the amazingly gorgeous Grace Kelly in her first Hitchcock film -- later appearances in Rear Window and To Catch a Thief) plays the cheating wife.
It's interesting that Grace is not in a lot of scenes. In fact she plays second fiddle to the plot: an amazing play on action and suspense.
Hitch sets up the audience -- the suave, rich man who has evil in his heart, finds a man to blackmail and use him as the murder weapon (the slimy sneak Anthony Dawson and goes step by step through the process, walking him around the room, telling him exactly what to do and how to do it. Milland's character exudes this brilliance and competence -- what could possibly go wrong? It all goes off without a hitch at 11:03 pm.
What, you didn't check your watch?
Robert Cummings [Love That Bob, Vol. 1 and 2] is the visiting American writer -- not a lot to love about this guy although his ability to figure out that there is no such thing as a perfect murder and even goes so far as to explain to Milland's character the very way he actually attempted the deed is amazing. "Who would believe a crazy story like that? Looks good on paper!" As if!
I love how everything goes wrong with the killer, with the strategically placed scissors (the murderer dies most operatically!) the stopped watch, etc., and Milland has to rewind and adapt to the new situation -- getting his wife thrown in prison to be executed sounds like a great way to get out of it!
Brilliantly filmed in high saturated Technicolor, the cinematography with the pans and the minimalist shots & camera angles and the fact that it was all shot pretty much in one room is amazing to watch.
The DVD Extras are great, too. There's an interview with M. Night Shyamalan Unbreakable (Two-Disc Vista Series) where he describes Dial M and talks about how these cinematic techniques have affected his own film-making. Hitchcock's daughter Patricia makes an appearance in the "making of" and the brief history of 3D film-making rounds out the DVD.
The audience set-up and suspending the resolution of the crime and the smooth sleuthing of John Williams' character make this movie the top Hitchcock film for me. Well done!
Great Hitchcock Suspense Must-Watch Films:
Rear Window (Collector's Edition)
To Catch a Thief (The Centennial Collection)
North by Northwest (50th Anniversary Edition)