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Ex-tennis pro Tony Wendice wants to have his wealthy wife, Margot, murdered so he can get his hands on her inheritance. When things go wrong, Tony improvises a brilliant plan B.
Dial M remains more of a filmed play than a motion picture, unfortunately revealed as a conversation piece about murder which talks up much more suspense than it actually delivers.
The movie is worth seeing even now, if for no other aim than to show a man ambitiously experimenting with the devious facets that would inspire greater films.
Rather than let someone else mess with a play that has a formal perfection, Hitchcock did the adaptation himself, his only such credit while in Hollywood.
Was by far the most visually compelling of studio stereoscopic movies.
January 01, 2000
Eye for Film
The risk with clever thrillers is always that they will focus on pleasing the intellect at the expense of developing more depth. Dial M For Murder is a different kind of animal.
The screenplay tends to constrain rather than liberate Hitchcock's thematic thrust, but there is much of technical value in his geometric survey of the scene and the elaborate strategies employed to transfer audience sympathy among the main characters.
Ray Milland is great as cold fish Tony Wendice, a former tennis pro who plans to bump off his adulterous wife. Still, Grace Kelly is mis-cast (or misdirected) as the spouse in question.