Dial M for Murder


Action / Crime / Film-Noir / Romance / Thriller


Uploaded By: OTTO
Downloaded 52,681 times
November 26, 2012 at 07:21 AM


Grace Kelly as Margot Mary Wendice
Alfred Hitchcock as Man at Tony's Table at the Dinner in Photograph
Martin Milner as Policeman Outside Wendice Flat
Ray Milland as Tony Wendice
720p 1080p
700.37 MB
23.976 fps
1hr 45 min
P/S 4 / 38
1.40 GB
23.976 fps
1hr 45 min
P/S 13 / 29

Movie Reviews

Reviewed by marissas75 6 / 10

All it is, is plot

Undoubtedly, "Dial M for Murder" has a clever plot: Tony Wendice (Ray Milland) plans "the perfect murder" to do away with his wife Margot (Grace Kelly), who cheated on him with novelist Mark (Robert Cummings). He blackmails an old schoolmate into committing the crime and plants clues to mislead the police. But when things don't go according to plan, Tony has to plant new clues and think of another explanation to give the detectives, so that suspicion doesn't fall on him.

The trouble is, the plot is the only interesting thing about this movie, and the characters are defined solely by how they can affect the plot. For instance, Mark writes mystery novels only because this explains his ability to "read" the crime scene. Most of the movie's dialogue is expository: long scenes where the characters debate the minutiae of evidence found at the scene, without an interesting subtext. The movie is known for taking place almost entirely in the Wendices' living room, and Hitchcock does a good job of varying the camera angles to make you forget there's just one set. But he did this even better in "Rear Window," his other 1954 film.

Admittedly, Milland gives an enjoyable performance as the villain—truly a guy you love to hate, a clever and smiling sociopath. But Kelly and Cummings are surprisingly boring for a pair of adulterous lovers. Kelly also proves herself the ancestor of all those female horror- movie characters who go investigating strange noises in their best lingerie.

"Dial M for Murder" is lightweight without actually being funny—a fatal combination. Though serious concerns (adultery, murder, the death penalty) underlie the story, we're never made to feel that they are really consequential. It's a cold and mechanical movie, which subordinates everything else to the demands of an intricate plot. Contrast this with something like "Rear Window," whose plot is simple and lacking in twists, but whose characters are vividly drawn and act as though their stories really meant something. Having a clever solution to a mystery does not a great movie make.

Reviewed by MattB-5 5 / 10

Vastly overrated....

Mostly enjoyable movie, but hardly a 'great' movie. I am most disappointed by the lack of depth in the Grace Kelly and Cummings characters, which are both one-note uninteresting roles. Grace Kelly is wasted in a passive, weak, and vapid role which relegates her to the status of window dressing (not that there is anything wrong with that!), she might as well be a nice looking piece of furniture in this movie. The Cummings role is wasted as the passion between him and Kelly is not developed, and amazingly, the tension that would exist between Milland and Cummings is never apparent!. This guy was sleeping with Milland's wife, but you would think they were best friends. What a waste. Would have been a lot more interesting if Kelly and Cummings were not such bland, cardboard harmless people and were a little more human, with real emotions (jealousy, hatred, passion, even a little evil).

Milland makes the move interesting to watch as he sets his plan in motion with great charm and flair. Unfortunately, as he is the only interesting character, you kind of feel bad when he is caught in the end and the two sappy characters prevail. Oh well, it could have been a lot more 'noir' if they had not glossed over the fact that Kelly and Cummings are far from the sweet innocents they are portrayed.

Reviewed by José Luis Rivera Mendoza (jluis1984) 9 / 10

The perfect film for the perfect murder...

After earning an Academy award nomination for her performance in John Ford's 1953 tale of romance and adventure, "Mogambo", the beautiful actress Grace Kelly proved that she was way more than just a pretty face and that there was real talent behind her image. However, what truly took her career to new levels were three now classic films she made directed by the legendary Master of Suspense, Alfred Hitchcock. Under his direction, Kelly made an integral part of the Master's films, becoming the perfect embodiment of Hitchcock's idea of a female protagonist. While Kelly debuted two years earlier in the classic Western "High Noon", one could say that it was Hitchcock who really introduced the beauty and talent of Grace Kelly to the world. "Dial M for Murder" was the first of Hitchcock's films with Kelly, and a movie where once again the Master returns to a familiar theme: the perfect murder.

The movie is the story of Tony Wendice (Ray Milland), a former tennis player married to the beautiful and wealthy Margot (Grace Kelly) and living in an nice apartment in London. Life is good for Tony, until he discovers that his wife is cheating on him with an old flame of her, famous crime novel writer Mark Halliday (Robert Cummings). After that discovery, Tony spends a whole years plotting the perfect way to murder his wife in order to inherit her money, carefully planning every detail of the crime. When Mark visits London again, Tony finds the perfect chance to set his plan in motion, and as planned, he recruits Charles Swann (Anthony Dawson) to kill his wife. However, bad luck and a sudden change of events will test Tony's plan's infallibility as, just as Mark points out, human action can originate flaws even in the most perfectly devised plan.

Like most Hitchcock's films, "Dial M for Murder" was an adaptation of another art-form, this time a popular play by Frederick Knott. As Knott was also the writer of the screenplay, the movie remains extremely faithful to the play, although of course, not without its differences. Knott's script is wonderfully constructed, as like in the play, the dialog is witty and simply captivating, with many twists and turns that spiced up the complex plot and keep it from being boring or tiresome. An interesting feature of the movie is that oddly, there are no black and white morality in the characters, and it's easy not only to sympathize with Margot (despite she being cheating on her husband) but also to sympathize with Tony (despite he wanting to kill his wife), as the characters are wonderfully developed with very detailed personalities.

It seems that Hitchcock's knows that the dialog is the highlight of the play, as he deliberately focuses on his actors and uses an elegant camera-work to frame the whole movie inside the apartment. The movie literally is shot entirely in one single room (only two other sets are used, and only briefly), but Hitchcock's classy way of using the camera allow a highly dynamic flow that never lets the movie be tiresome. This is also very helpful as Hitchcock just lets his characters keep speaking, carefully describing actions and events (when other directors would use flashbacks) in a similar way to a what the real play would be. While this approach could easily get boring, Hitchcock's use of colors and overall visual imagery simply creates the perfect medium to allow Knott's dialog to shine.

Without disrespecting John Ford or Fred Zinnemann, I think that it was Hitchcock who finally could allow Kelly's talent to shine beyond her physical beauty. Grace Kelly makes her character shine with her subtle and restrained performance, specially showing her skill in the second half of the film. While often Kelly receives top honors in this movie, it is actually Ray Milland who makes the whole movie work with his suave and charming "villian". Milland's performance is simply terrific, making his character nice enough to win the sympathies of the audience, yet still frighteningly intelligent as the mastermind of the plot. John Williams appears as the Inspector in charge to solve the complex puzzle, and delivers a classic performance as the Enlgish gentleman decided to find the final answer. Only Robert Cummings seems miscast as Mark Halliday, although a lot of his weak performance could be blamed to Milland, Kelly and Williams overshadowing him with their excellent work.

In many ways, "Dial M for Murder" shares many things with "Rope", as not only the two films are based on successful plays, they are also about committing the perfect murder and oddly, they are both "experiments": while "Rope" was conceived as a "movie in one take", "Dial M for Murder" was done as 3-D movie. Sadly, the interest in 3-D was dying when the film was released, so few theaters carried the movie complete with the gimmick; a real shame, as Hitchcock's use of the technology, unlike most 3-D films of its time, was conceived as a way to enhance the claustrophobia of the Wendices' apartment instead of using it to merely shock the audience with "stuff coming out of the screen" (as seen in for example, "House of Wax"). While not too fond of the gimmick, Hitchcock truly gave it a good and intelligent (albeit subtle) use to it.

"Dial M for Murder" is probably less celebrated than the Master's most famous movies, the fact that it came out the same years as "Rear Window" (again with Grace Kelly) may have had something to do with it too. While a subtler and more restrained tale of suspense, this is still the Master at his best, as the movie proves that when he was at the top of his game, no other director was comparable to him. 9/10

Read more IMDb reviews


Be the first to leave a comment