It all moves along in a rather efficient if lifeless fashion, with only John Williams shining as a canny police detective.
Dial M for Murder (1954)
Tomatometer
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Reviews Counted:26
Fresh:21
Rotten:5
Average Rating:7.2/10
Runtime: 1 hr 46 mins
Genre: Dramas
Synopsis: Alfred Hitchcock had already begun work on REAR WINDOW when he took on the project to direct DIAL M FOR MURDER, based on the successful play by Frederick Knott. For the film, Hitchcock chose to... Alfred Hitchcock had already begun work on REAR WINDOW when he took on the project to direct DIAL M FOR MURDER, based on the successful play by Frederick Knott. For the film, Hitchcock chose to cast his favorite leading lady of the time, Grace Kelly, as the embattled Margot Wendice. Kelly would also star in REAR WINDOW and Hitchcock's subsequent TO CATCH A THIEF. It wasn't Hitchcock's preference to shoot DIAL M FOR MURDER in Warnercolor 3D (the cameras were large and unwieldly), and the film is seldom screened in 3D, but Hitchcock's use of the technique is notable for its service to the story rather than just being a gimmick. In the film Margot Wendice is a wealthy heiress whose playboy husband, Tony (Ray Milland), recognizes his dependence on his wife's fortune. When Tony begins to suspect he is losing Margot's affection to writer Mark Halliday (Robert Cummings), he also begins to fear he will lose her wealth. This leads the callous husband to craft a plan for his wife's death. However, when the plan goes awry, Tony is quick to turn circumstance into a second opportunity to destroy his wife. [More]
Starring: Ray Milland, Grace Kelly, Robert Cummings, John Williams
Starring: Ray Milland, Grace Kelly, Robert Cummings, John Williams, Anthony Dawson
Director: Alfred Hitchcock
Director: Alfred Hitchcock
Producer: Alfred Hitchcock
Composer: Dimitri Tiomkin
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Reviews for Dial M for Murder
Dial M remains more of a filmed play than a motion picture, unfortunately revealed as a conversation piece about murder which talks up much more suspense than it actually delivers.
Dial M is less a filmed play than a highly cinematic investigation of theatricality.
A rare and accomplished example of the work of Hitchcock the Minimalist.
[Hitchcock] tried once before, in Rope, to build up a whole continuous drama in one set. He wasn't as successful in that venture. Dial M has all the space it needs.
The screenplay tends to constrain rather than liberate Hitchcock's thematic thrust, but there is much of technical value in his geometric survey of the scene and the elaborate strategies employed to transfer audience sympathy among the main characters.
Critics seem to prefer the more theatrical, psychological melodramas to the brainy whodunits. But pay no attention – this film is definitely a classic
Was by far the most visually compelling of studio stereoscopic movies.
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