In London, wealthy Margot Mary Wendice had a brief love affair with the American writer Mark Halliday while her husband and professional tennis player Tony Wendice was on a tennis tour. Tony quits playing to dedicate to his wife and finds a regular job. She decides to give him a second chance for their marriage. When Mark arrives from America to visit the couple, Margot tells him that she had destroyed all his letters but one that was stolen. Subsequently she was blackmailed, but she had never retrieved the stolen letter. Tony arrives home, claims that he needs to work and asks Margot to go with Mark to the theater. Meanwhile Tony calls Captain Lesgate (aka Charles Alexander Swann who studied with him at college) and blackmails him to murder his wife, so that he can inherit her fortune. But there is no perfect crime, and things do not work as planned. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In the scene were Wendice is describing to Swann/Lesgate about a middle-aged woman that Swann was affiliated with in the past having died from a drug overdose, Wendice was to originally say "middle-aged woman found dead due to an overdose of cocaine", which was in the original script and stage play, but due to the Hollywood Hays Code rules of detailing of drug usage on screen, the studio officials insisted to director Hitchcock to replace the word "cocaine" with the word "something". See more »
(at around 78 mins) John Williams lights his pipe and puts it in his pocket a couple of minutes later, careless that it is still lit. See more »
Tony Wendice (Ray Milland), an ex-tennis player, unhappily married to Margot (Grace Kelly), correctly guesses that she has been cheating, with Mark Halliday (Robert Cummings). Mark writes crime stories. Unbeknown to Margot and Mark, Tony knows about the affair, and wants to teach Margot a little lesson, by taking away the thing that is her life. But, being too guileful to do it himself, Wendice blackmails one of his old school friends into murdering her, and the essential thing to doing it is his latchkey.
Dial M for Murder succeeds on many levels, and it is largely thanks to some superb dialogue, written from a tricksy-yet-capable script that never gets too deep. The cast are a treat. Ray Milland is an absolute gem, extremely sly and dispassionate, yet a character so full of self-assurance that one almost sides with him. Grace Kelly completes her great year (she gave an Oscar-winning performance in The Country Girl and also starred in Rear Window) by emanating the poised, beautiful being, that is vulnerable, yet oddly unassailable. And it's weird in that even though she's cheating on her husband, you care for her a lot more than him (although that could do with the fact that he's trying to kill her...) And John Williams, as the police detective, is quite wonderful.
Alfred Hitchcock manipulates and enthrals his audience here like the master that he is. Each scene has a sense of direction, great pacing, and is staged realistically. Stunning full colour photography and a haunting, atmospheric score from Dimitri Tiomkin complete this great package. The ending, when it comes, feels a little too nice to be truly realistic, but that is my only major quibble with an otherwise highly entertaining, thrilling movie.
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