Dial M for Murder
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Movie Reviews of Dial M for Murder
Movie Review: A brilliant movie from beginning to end!
Summary: 5 Stars
This review is for the 2004 Warner Brothers DVD.
The movie 'Dial "M" for Murder' is film adapted from a successful play. Alfred Hitchcock directed this picture and since almost all of the movie takes place in one setting, it really does have the look of a play put on film. But that does not in anyway denegrate the quality nor entertainment value of this movie. On the contrary, because of a brilliantly conceived story, coupled with superb acting, the film is terrific.
The story is set in London and involves a love triangle between a retired tennis pro Tony Wendice (Ray Milland), his wealthy and beautiful wife Margot (Grace Kelly), and an American novelist Mark Halliday (Robert Cummings). Halliday returns to London after an extended absence and Tony knows about this affair and concocts a brilliant plot to murder his wife. He develops what seems like a perfect murder plan by blackmailing an old college friend Charles Swann (Anthony Dawson), into committing the murder so that Tony has a perfect alibi. This sets up the remainder of the film where a death occurs and an investigation is opened by the police, and Tony, Halliday and the police detectives match wits figuring out what really happened.
The film is rather simple in format and even though there are several twists, the real magic of the movie is how well Tony Wendice, Halliday and the police intellectually involve themselves in the murder plot. Another major strength of the movie is the performance of Ray Milland, who plays a smooth, charming and very cunning mastermind of what seems like the perfect murder. His cool composure from beginning to end in all sorts of troubled spots is an amazing sight to watch. When he confronts Swann with his plan, Swann seems like a trapped animal and appears to have no choice to commit the crime since Wendice has him between a rock and a hard spot. But the murder seems so well thought out that the risks appear to be minimal. Once the police are involved, Chief Inspector Hubbard played by John Williams shines as well with superb detective work figuring out how and why this killing really occurred. Grace Kelly also does a fine acting job in this film. Overall, its a great movie, but clearly a lesser challenging film for Hitchcock's cinematic brilliance. This was originally filmed in 3-D, so the movie exploits a lot of foreground/background subjects instead of showing characters and props mostly equal distant to the camera.
The DVD transfer is top notch. There is virtually no film deterioration present and the full-screen color is vibrant. The sharpness is very good, but not great and there were a few times some of the subjects seems out of focus, but that's probably attributed to the 3-D technology of that era. Overall, its still an excellent visual presentation of the movie. The sound was fine also. The extras include a short documentary analysis of the film plus a very short segment on the history of 3-D.
Movie: A
DVD Quality: A
Movie Review: The Best of the Best: Hitchcock was a Lot More Than the Master of Suspense
Summary: 5 Stars
Let's forget for a moment that Alfred Hitchcock was the best director at creating and sustaining gut wrenching suspense. That will always be his trademark; the ability to milk the tension of a scene to the very last drop.
The Master of Suspense? It's just too easy to classify him as this suspense thriller hack and dismiss his many virtuoso talents.
What I'd like to remember Mr. Hitchcock for is his ingenious ability to create a sense of pathos & psychosis in most of his main protagonists and villains; meanwhile having us relate to them in their immoral behaviors. Deftly, Mr. Hitchcock uses this transference (from screen character to viewer) so we can relate and identify directly to their situations and motivations however moral or immoral.
In Dial M for Murder, we can't help but to go against our own moral judgement and wish that the murder of Grace Kelly's character goes as planned by her husband. In the film's expository, a murder plan is hatched. Mr. Hitchcock masterfully sets up this scene with a changing of the point of view in the story and main characters. We are soon aware that the Ray Milland character is the central figure and he has the central motivation throughout the film. (although this changes later in the story)
What's haunting and eerie about this film's premise is Hitchcock's use of the point of view throughout the film. We see the film through Milland's eyes and there are many POV shots to prove it.
With a bit of reservation, when the dramatic first half climax arrives we hope that the hired killer stays long enough to carry off his execution of the Grace Kelly character. The reason is because Hitchcock has conditioned our response with tension and suspense in this highly dramatic situation. We see Milland's watch has stopped, a restless hired killer ready to abort, a man taking up precious time on a pay phone, and the extreme close up of the dial number. In "western" film narrative with all of these suspense elements inter cut together we expect a big payoff. And the audience wants to see this murder carried out.
Variations of this theme were played out beautifully in Robert De Niro's, Travis Bickle character at the ending climax of Taxi Driver and Anthony Hopkin's Hannibal character in The Silence of the Lambs. (When Hannibal escapes that weird detainment configuration and Travis shoots down the pimps we are rooting for murder)
This is something Mr. Hitchcock knew way ahead of its time and it's a very odd dynamic; a compelling reality in the audience to movie-story relationship.
Movie Review: A perfect murder...gone wrong!
Summary: 5 Stars
Suspense and mystery - this Alfred Hitchcock movie has it all! Unlike some of Hitchcock's other films were he builds it up for all the action at the end of the movie, Dial M For Murder's action all takes place at the beginning of the movie. Grace Kelly was Hitchcock's favorite actress and he had already starred her in "Rear Window" earlier that year before casting her as Margot Wendice in "Dial M For Murder." He also used Robert Cummings (who he had previously worked with in 1942's "Saboteur") as Mark Halliday, the American bookwriter and Margot's boyfriend.
When the story starts, you witness Tony (Ray Milland), Margot's husband, going through every intricate detail in the cruel plans for his wife's murder, with the man he has hired to kill her. Tony's plot: the evening of the day he has planned to murder her, he will go out. It will be getting late so Margot will be going to bed. He will call their house, Margot will get out of bed, walk throught the living room to the desk at the far end of the wall near the windows. The hired killer will be standing behind the curtains, and when she steps behind the desk to pick up the phone, he will come behind her and throw a piece of rope around her neck and strangle her.
As Tony is going through the plans, he gives the killer directions of exactly how he is going to get in the house and exactly how he is going to leave. Pay careful attention to everything he says about the latchkey - it's the main clue to solving the whole thing.
The evening of the murder arrives. Tony goes out and Margot goes to bed - everything is going as planned so far. At the appointed time, Tony calls the house...you hear the phone ring...you see the light go on at the bottom of Margot's door (this is were the suspense starts to mount)...you hear the door click...then you see Margot walking towards the desk (and her doom?)...She picks up the phone, "Hello"...no answer..."Hello?"...Suddenly you see a rope get thrown around her neck. There's silence as he tries to strangle her. Then she's lying on the desk, trying to breath. She's reaching, reaching...and suddenly she grasps them - a pair of gleaming scissors - and plunges them into her assailants back.
But what will happen? Will the merciless Tony get away with her would-be murder? What will happen to Margot? Will she be blamed for defending herself?
Movie Review: Classic Hitchcock, a cool beauty, a handsome man, and murder
Summary: 5 Stars
Alfred Hitchcock's 1954 color movie Dial M for Murder is one of those movies that you can watch again and again. After 51 years Dial M for Murder still shines with class and great British style that never grows old. The principals in the movie are Ray Milland (Tony Wendice) and Grace Kelly (Margot Wendice), Robert Cummings is Mark Halliday the outside love interest. John Williams is excellent as the dapper, low keyed Chief Inspector Hubbard. The casting for this movie is just perfect.
Ex-tennis pro Tony Wendice is unhappy to find himself in the middle of a love triangle. He is not so concerned about his wife's extramarital affair, as much as he is concerned about loosing a wealthy wife and her money. By chance he sees and recognizes old class mate, Charles Swann from his college days. He realizes that Swann may be the answer to his money and philandering wife troubles. Ray Milland oozes charm and sometimes menace as his Tony Wendice character purposefully manipulates those around him to become part of his diabolical scheme for the perfect crime. Wendice's smile never reaches his eyes, it lets you know that he will allow nothing to stop his plans. However, it is Anthony Dawson as Charles Swann who holds your attention the whole time he is on the screen. Dawson has the perfect slightly swarmy look for this role as a seasoned petty con man who finds himself caught up in a game he never expected to play. His eyes dart about the room as if trying to find a way out, after he is blackmailed to commit murder. He soon understands that he must comply with Wendice's wishes. But the best laid plans often go bad, and although Wendice falters, he is not deterred. He simply moves on to an alternate plan. Watch Grace Kelly as she goes from being a cool, society housewife Margo Wendice to a hopeless woman who is surprised and confused to find herself falsely accused of murder. Her only hope for freedom is a latchkey.
This is the kind of movie that has you holding your breath. Most of the action takes place in one room and the camera works magic with its corner and overhead shots. There are close ups of inanimate objects that are integral to the plot.
This movie is definitely a must-have for your vintage movie collection.
Vannie(~.~)
Movie Review: "Once he opens that door, we shall know everything."
Summary: 5 Stars
Dial M For Murder takes place almost entirely within the confines of one room, breezes by in two acts, contains very little action, features only five characters of any real significance, and yet it feels absolutely epic. Its dialogue-saturated narrative ripples with tension, wit, and menace, every word of the script serving to propel, complicate, and enliven one of the most wonderful and quintessentially Hitchcockian plots you've ever seen. The story revolves around retired tennis player Tony Wendice (Ray Milland) as he attempts to murder his wealthy and unfaithful wife Margot (Grace Kelly. Be still, my beating heart!). A clever and calculating man, Wendice orchestrates a brilliant scheme that, if executed properly, will leave his wife dead and him with an airtight alibi. The plan goes off with exactly one hitch, but it's a pretty big one: Margot doesn't die. Not to be deterred, Wendice sets about turning the situation to his advantage.
I wouldn't want to give anything else away, so suffice to say that the fun of this movie is watching Wendice manipulate the police, Margot, and her lover Mark (Robert Cummings) into resolving the situation in his favor, all the while playing the concerned husband. He's a villain that's fun to root for; we hate his intentions but love his wit, his meticulous attention to detail, and his prodigious talent for improvisation. Squaring off against Wendice is the Columbo-like Inspector Hubbard (John Williams), whose talent for discovering the truth is as intuitive and uncanny as is Wendice's for concealing it.
Milland and Williams steal the show here. Their performances are understated but brilliant. Each man is dapper, witty, and charismatic, and they convey a charming sort of arrogance, an awareness of and admiration for their own cleverness. In their scenes together, they seem to talk over the heads of whoever else happens to be in the room, as if they're facing each other in a private game that nobody else is aware of. Except us, of course.
Hitchcock keeps the tension high, letting the labyrinthine plot strain against the edges of its claustrophobic setting, turning Wendice and Hubbard's conversations about extra latchkeys and missing attaché cases play like high drama. Classic.