Film Review: Dial M for Murder (1954)

14 days ago

(source: tmdb.org)

Every few decades, Hollywood studios attempt to revolutionise the film business by introducing 3D technology, hoping to captivate audiences with something they haven’t experienced before. However, these experiments always end up being passing fads, with audiences quickly growing of novelty and technical demands on theatres making them unsustainable. This pattern was established in the early 1950s, when 3D was first brought to screen, and among the filmmakers who dabbled in this new technology was Alfred Hitchcock. His 1954 film, Dial M for Murder, was originally shot in 3D, but it is now considered one of his second-tier works, reflecting the limitations of the technology and the stage-bound nature of the source material.

The film is based on Frederick Knott's 1952 play, which was originally aired on BBC and became a hit on both sides of the Atlantic. The plot revolves around a retired tennis player, Tony Wendice (played by Ray Milland), who discovers that his wife, Margot (played by Grace Kelly), is having an affair with an American crime writer, Mark Halliday (played by Robert Cummings). Determined to kill Margot and inherit her wealth, Tony blackmails an old acquaintance, Charles Swann (played by Anthony Dawson), into carrying out the murder. The carefully planned scheme, however, goes disastrously wrong and, while police led by Chief Inspector Hubbard (played by John Williams) investigate the aftermath, Wendice has to improvise alternative ways to achieve his aim.

While Dial M for Murder may be considered a lesser work in Hitchcock's oeuvre, it is still a significant improvement over the best films of most of his contemporaries. The script's limitations, due to its stage-bound origins, make it difficult for Hitchcock to showcase his signature visual style and suspenseful sequences. The most suspenseful sequence in the film occurs in the first third, with the tension only artificially and melodramatically heightened near the end.

Despite these limitations, Dial M for Murder is worth watching for its impressive cast, particularly Grace Kelly's debut as Hitchcock's heroine. Kelly easily wins the audience's sympathy, despite her character's adulterous actions, and her chemistry with Cummings is palpable. Robert Cummings, who had previously worked with Hitchcock on Saboteur and later became a television star, is somewhat less impressive, but this is mostly due to his character's limited screen time. Ray Milland, on the other hand, delivers a standout performance as the intelligent and resourceful villain, arguably one of the most impressive among all villains in Hitchcock's filmography. Anthony Dawson and John Williams add to the film's strength as supporting players, reprising their roles from the stage version.

Apart from Hitchcock's skilful direction, the film also benefits from an effective music score by Dimitri Tiomkin, which adds to the tension and atmosphere. Dial M for Murder was a success at the box office, although Hitchcock himself was not particularly impressed with it, considering its production as something of a vacation. In his next film, Rear Window, Hitchcock demonstrated how a similarly limited setting could not prevent him from creating a truly remarkable film.

Knott's play has been adapted many times since Dial M for Murder' release, making it one of the most remade films in Hitchcock's filmography. These adaptations include a 1981 US television film, a 1998 thriller titled A Perfect Murder, two films in India, and a television film made in the Soviet Union. These adaptations attest to the enduring appeal and adaptability of Knott's story and Hitchcock's cinematic vision.

RATING: 7/10 (+++)