Dial M for Murder (1954)

Directed by: Alfred Hitchcock | 105 minutes | thriller, crime | Actors: Ray Milland, Grace Kelly, Robert Cummings, John Williams, Anthony Dawson, Leo Britt, Patrick Allen, George Leigh, George Alderson, Robin Hughes, Sanders Clark, Jack Cunningham, Robert Dobson, Guy Doleman, Bess Flowers, Sam Harris, Harols Miller, Martin Milner, Forbes Murray, Thayer Roberts

In the early 1950s, the film world – and Hollywood in particular – got a new competitor: television. In order to get the audience excited about the cinema again, all kinds of tricks were devised to make the films look as attractive as possible. Studio bosses insisted that all films be shot in widescreen, that vibrant colors be used and that the new 3D technique be used whenever possible. The demands were practically pushed down their throats by the filmmakers. Alfred Hitchcock also did not cooperate wholeheartedly, but chose ‘Dial M for Murder’ (1954) to experiment with the techniques. A major advantage of the 3D technique was that it was now possible to make an extreme close-up of something. Without that technique, the film’s most famous shot – a finger turning the ‘M’ key on a telephone – would never have been possible.

‘Dial M for Murder’ centers on former professional tennis player Tony Wendice (Ray Milland) and his wealthy wife Margot (Grace Kelly). He’s had it with her. At her request, he gave up playing tennis so that he could spend more time at home, but she has since reunited with American crime author Mark Halliday (Robert Cummings). Tony has known about the secret affair for a year and has tried everything to separate the two. In vain. He is now desperate and concocts a plan for the ‘perfect murder’. He blackmails a former college friend of dubious reputation (Anthony Dawson) and gets him to agree to kill Margot. The case is set up in such a way that it looks like she has been the victim of a violent burglary. But no matter how carefully Tony has mapped out the plan, things turn out slightly differently. Margot survives the attack and stabs her attacker in an emergency. Now it’s up to Tony to lead the bold Police Inspector Hubbard (John Williams) on the wrong track.

The year 1954 was fantastic for Hitchcock. Besides ‘Dial M for Murder’ he also made the much more successful and highly rated film ‘Rear Window’. Both films have in common that they are both based on a play and that this is clearly visible in the end result because almost all scenes take place in the same room. ‘Dial M for Murder’ was written by Frederick Knott, who also wrote the screenplay. The story is basically not too complicated, but the many plot twists make it all very entertaining. Ideal for a thriller. But because the story is based on a play, there is a lot of talking in it. A lot in fact, especially at the beginning of the film (comparable to ‘Rope’ from 1948). As a viewer you have to see through that. The suspense in this film is not in who committed the murder – that is clear from the start – but whether Tony gets away with his evil plans. Hitchcock’s hand is clearly seen in the fact that you feel more sympathy for “bad guy” Tony than for “victim” Margot. In fact, the viewer’s sympathy jumps back and forth between the two of them. Another great example of manipulation by Hitchcock.

Ray Milland is the main asset of this film. Milland’s biggest claim to fame was his fantastic lead role in Billy Wilder’s ‘The Lost Weekend’. A role that rightly earned him an Oscar in 1945. In ‘Dial M for Murder’ he impressively portrays the evil genius Tony. Of course you disapprove of what he does, but in a way you can imagine it again. He has put everything aside for Margot, but she has been cheating on him with someone else for a year. Reportedly, Cary Grant was also interested in the role, but it was too expensive for the producers to hire. In retrospect it might be a good thing too, because whether he would have played the part as well as Milland remains to be seen. Grace Kelly, in the first of three consecutive Hitchcocks she would star in, is very lackluster. Of course she is and remains a beautiful woman, but her acting in ‘Dial M for Murder’ is wooden and flat. This also applies to Robert Cummings, who Hitchcock knew from the movie ‘Saboteur’. Who does add color to the film is John Williams (‘Sabrina’), who excellently portrays the very British police inspector. Anthony Dawson (‘Dr. No’), endowed with an old-fashioned villain, also stands his ground.

“Dial M for Murder” isn’t the best movie Hitchcock ever made, and not even his best of 1954 (that was “Rear Window”). Hitchcock himself also saw the film as a snack, to try out new techniques. Nevertheless, the film turned out well, although there is a bit of talk for a thriller (especially in the first part). In any case, ‘Dial M for Murder’ is a lot better than the 1998 remake ‘A Perfect Murder’, starring Michael Douglas and Gwyneth Paltrow in the lead roles. That is mainly due to the excellent Ray Milland. And of course Hitchcock himself, a director who is still unrivaled many years later.