Customer Reviews

Dial M for Murder

5 star:		(27)
4 star:		(15)
3 star:		(7)
2 star:		(3)
1 star:		(0)

 

 

I have been one of the many people who have sent in, demanding that this DVD be released and now it is! This is a great Hitchcock thriller and most of his films are on DVD, so why not this one. At Last!!!

This is a great Alfred Hitchcock movie. It's one that is even better the second time you see it.

Now, about the DVD, does anyone know what the difference is between this one, and the other "Dial M for Murder" DVD that isn't released yet?? I was confused by that...

Please respond if you can help!

I can't remember the storyline from 'Dial M for Murder' too much, but I do remember liking it. Once again, the master filmmaker Alfred Hitchcock manages to make a fantastic film from a limited story setting.

DIAL M FOR MURDER is an Alfred Hitchcock classic about a man who is trying to have his unfaithful wife murdered for her wealth. Ray Milland does a superb job in the role of the scheming husband. Grace Kelly plays the wife and Robert Cummings is her lover. John Williams, Anthony Dawson and Patrick Allen round out the strong cast. Unfortunately the details of the film's plot are too complicated and the movie lacks the usual high degree of suspense associated with the best Hitchcock thrillers.

DIAL M FOR MURDER received no Oscar nominations in 1954 but Alfred Hitchcock did receive a nomination for his direction of REAR WINDOW in that same year.

Dial M for Murder is not one of the all time greats of the Master, but it still has its merits. Based on a play by Friedrich Knott, it features the suave Ray Milland playing Tony Wendice, former tennis star. He's married to Margot (Grace Kelly) who is actually having an affair with Mark (Robert Cummings). Tony hatches a plan to blackmail a former school chum to come to their house and kill Margot when Tony is away. The main part of the plan involves Tony calling Margot to get her to stand by the phone and give the killer his chance. The plan, needless to say, does not go off as planned and some further decisions need to be made.

It's obvious that this was originally a stage play, as the majority of the picture takes place in the Wendice's apartment. It also was released in 3-D when it came out in 1954, something that really didn't help its popularity. The play was perfect for Hitchcock, who showed over and over his ability to do masterful work even when contained in one space for a long period of time (see Lifeboat, and Rear Window, which came out the same year as Dial M). The performances are superb. Milland as the overconfident Brit, Cummings as the uptight American, and Kelly as the clueless beauty who just can't believe her husband could be so cruel. I also loved John Williams as the inspector from Scotland Yard. He also thinks highly of himself and it's great watching him go up against Milland. Watch also for Hitch's cameo in a picture and the neat close ups of the scissors and the telephone number dial. Hitchcock always had the camera telling the story and this film is no exception. Excellent all the way around.

Alfred Hitchcock's 1954 Dial M For Murder, ended up as an "also ran" to the more popular Rear Window, released that same year. Another problem was that it was decided to add some 3-D elements to it, as a way to entice folks into the theater. 3-D was all the rage back then, but in the end, this only proved to be a distraction, rather than an enhancement. I think Dial M is a better film than most people think it is, especially when looked at outside of the Rear Window and 3-D factors.

Tony Windice (Ray Milland) hatches a plan to have his lovely wife Margot (The ever lovely Grace Kelly) murdered. It seems that she has been having an affair with a writer friend of theirs, named Mark (Robert Cummings) Tony's plan involves a casual school mate of his (Anthony Dawson) carrying out the deadly deed, while Tony has a solid alibi. When the plan is complicated by an unepected turn, Chief Inspector Hubbard (John Williams) is sure there's more going on here then meets the eye.

Based on Frederick Knott's play, Hitchcock keeps that "stage" mood going by not stretching too far beyond the main set. At first, this may seem very limiting but I think it only hieghtens the tension. Hitchcock is quite good at staging scenes in a confined space, as the aforementioned Rear Window and a few of his other films like Rope and The Trouble With Harry, demonstrate. Milland is devishly suave as Tony. Kelly is great as always, but really shines as a woman conflicted. The film has a problem with its pace at times, getting booged down with a dialogue heavy scene, now and then, but it's not as bad as some have suggested. People often compare the film to its updated and greatly expanded remake, A Perfect Murder, that's like comparing apples and oranges. It's not neccessary in my opinion. Both can stand alone and have their own strengths and weaknesses.

Dial M For Murder, is one of the only Hitchcock films left, not to get a DVD release. Ok, so it's not his best work, but as we approach a landmark anniversary for the film, this situation deserves to be rectified soon. It's gotten a bum rap for too long now.

Ray Milland pulls off another flawless performance as the jealous husband determined to have his cheating young wife Grace Kelly murdered. The aging former tennis star who lives mainly off his wife's wealth. When he learns of her infidelity with an American acquintance, Milland's adoration for the beautiful Kelly becomes nothing more than a strained pretence, all-the-while planning how he can get rid of her, then live happily ever after off her money.

A man Milland barely rememebered from college has a few dark secrets, which Milland uses to blackmail him into the meticulously planned "perfect crime" of murdering Kelly. A clever (although typical) "Hitchcock-Twist" makes for a thrilling change to an unexpected "Plan B".

Not as well known as similar Hitchcock films, this one is no less of a gem. Although the story and handling, particularly the dull-British "Scotland Yard" dialog are definitely from another era, the unfolding plot is sheer Hollywood candy. The final scene is priceless. A sure hit for those who love "whodunits" as well as for fans of the Master. A 5-star-classic!*****

This movie is a great thriller that should be put on DVD. It has great actors and a wonderful plot. This movie is one of Hitchcock's finest films. The tension and action in this movie is very high. This movie is automatically a great classic. See it! You won't regret it.

Hitchcock close to his best,..very good movie for a variety of reasons. Although the plot doesn't contain too many intersting twists, it is executed very effectively as hitchcock often did and raises the movie from good to he "would own" level. If you buy this you will not be disappointed. Hitchcock's best work would have to be Vertigo, North by Northwest and Psycho but this won't disappoint at all.

This is a fine example of the kind of mystery that little old ladies from Pasadena (or Russell Square) adore. Perhaps Arsenic and Old Lace (1944) starring Cary Grant might be comparable in its genteel and bloodless ability to glue us to the screen.

This is certainly one of Hitchcock's best, but most of the credit must go to a devilishly clever play written by Frederick Knott from which he adapted the screenplay. (He also wrote the play upon which Wait Until Dark (1967) starring Audrey Hepburn was based.) Hitchcock does a good job in not tinkering unnecessarily with the material. He also has the exquisitely beautiful Grace Kelly to play the part of Margot Wendice.

Ray Milland plays, with a kind of high-toned Brit panache, her diabolical husband, Tony Wendice, a one-time tennis star who married mostly for security. John Williams is the prim and proper Chief Inspector Hubbard. He lends to the part a bit of Sherlock Holmesian flair. One especially liked his taking a moment to comb his mustache after the case is solved. Robert Cummings, unfortunately plays Margot's American boyfriend as inventively as a sawhorse. For those of you who might have blinked, Hitchcock makes his traditional appearance in the photo on the wall from Tony Wendice's undergraduate days.

The fulcrum of the plot is the latchkey. It is the clue that (literally) unlocks the mystery. There is a modernized redoing of this movie called A Perfect Murder (1998) starring Michael Douglas and Gwyneth Paltrow in which a similar business with latchkeys is employed. I am not very good with clues so it was only after seeing that movie and Dial M for Murder for the second time that I finally understood what happened. Follow the latchkey!

Of course I was too distracted by Grace Kelly to fully appreciate such intricacies. I found myself struck with the ironic notion that anyone, even a cuckolded husband, might want to kill Grace Kelly or that a jury might find her guilty of anything! She remains in my psyche America's fairytale princess who quit Hollywood at the height of her popularity after only five years and eleven movies to become a real princess by marrying Prince Rainier of Monaco. Something was lost there, and something was gained. She was in essence the original Jackie Kennedy Onassis. I think, however, that the old saw about the man who marries for money, earning it, might apply to American princesses as well.

At any rate, Grace Kelly's cool and sublime bearing was on fine display here. Hitchcock cloths her in discreet nightgowns and fitted (but certainly not clinging) dresses that show off her delicate figure and her exquisite arms and hint coyly at her subtle sexuality. She was 25-years-old, stunningly beautiful, and in full confidence of her ability as an actress. She had just finished starring opposite James Stewart in another splendid Hitchcock one-room mystery, Rear Window (1954), and was about to make The Country Girl (1954) with Bing Crosby for which she would win an Oscar for Best Actress.

So see this for Grace Kelly who makes Gwyneth Paltrow (whom I adore) look downright gawky, and for Ray Milland whose urbane scheming seems a layer or two of hell removed from Michael Douglas's evil manipulations.

By the way, the "original theatrical trailer" preceding these Warner Brothers Classic videos is what we used to call the "Coming Attractions"--that is, clips directly from the movie and a promo. You might want to fast forward to the movie itself.