Dial M for Murder (1954) torrent download

Dial M for Murder

1954

Action / Crime / Film-Noir / Romance / Thriller

8.2

Synopsis

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.

Director

Alfred Hitchcock

Cast

Ray Milland
as Tony Wendice
Grace Kelly
as Margot Wendice
Robert Cummings
as Mark Halliday
John Williams
as Chief Inspector Hubbard
Anthony Dawson
as Charles Swann
Leo Britt
as Storyteller
Patrick Allen
as Detective Pearson

Movie Reviews

Reviewed by dvkatzprod-74759 7 /10

One Room Thriller

I had forgotten that most if not all of it happens in one single room. The planning of it is a display of extraordinary craftsmanship. Not a lagging moment. I was riveted to the, let's face it, preposterous plot from beginning to end. Ray Milland is a credible monster in elegant and civilized clothing. Grace Kelly, a peach as the unfaithful wife who stays home to cut newspaper clippings of her husband's past glories. Yeah, right. Robert Cummings has always been a mystery to me. A popular leading man with a long career. He only exudes a campy, if lightweight vibe that almost works in comedies and when he's in a supporting role - My Geisha and What A Way To Go with Shirley MacLaine are good examples. Here as Grace Kelly's secret lover, I don't know what to say. John Williams. very funny again as the Scotland Yard inspector, the same character to a T he played in Midnight Lace with Doris Day or was it his twin brother? In any case, no Hitchcock fan can afford to miss this filmed play, filmed by one of the undisputed greats.

Reviewed by PizzicatoFishCrouch 9 /10

Tense and exciting.

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.

Reviewed by TheUnknown837-1 9 /10

The stage-originated dialogue sings with intelligence, wit, and an easy transition to the screen

There is a lot to admire about Alfred Hitchcock's "Dial M for Murder," and I do hold the film with a great deal of admiration and respect. However, what I adore about the movie the most (more than the cinematography, the suspense, the acting, and even the direction) is the work by screenwriter Frederick Knott. Mr. Knott based the screenplay for "Dial M for Murder" on his successful stage production, which I have never seen, but am told contains almost all of the words we hear in the film. And the words are music to the ears. They sing with intelligence, wit that Mr. Hitchcock certainly found attractive, and, best of all, an easy transition to the screen. Many times when a stage production goes to film, as far as I am concerned, the results, even if good, are uneven. Frequently, the dialogue and restricted set space allowed tend to give off the impression of a filmed play, not a cinematic experience. Another Hitchcock film, 1948's "Rope," though valiant, interesting, and successful, attempted this and suffered from this difficult struggle.

But the dialogue, put on film here, is exceptional. I write this review having seen "Dial M for Murder" two or three times and wanting to see it once again. Many reviewers, myself included, have tried watching films with the sound off. I want to try the opposite. I want to close my eyes and just listen to the dialogue because it's so strong. The MacGuffin conversation at the beginning, with a perfectly cast Ray Milland blackmailing a perfectly cast Anthony Dawson into murdering a perfectly cast Grace Kelly is brilliantly written by Mr. Knott. It was clearly from a stage production, as it explains the plot background in great detail, and goes on for the better part of twenty minutes. Both men are fleshed out, giving us their personalities and individual tendencies. And even though "Dial M for Murder" pretty much stays on just one small set (an apartment in London, in which we see mostly the foyer, a little of the bedroom, and just a glimpse of the kitchen), what happens there is so fascinating that we do not really want to venture out into the city.

And that is just the setup. The dialogue remains insistently interesting and clever throughout the picture. It also has that subtle, dark sense of humor that Alfred Hitchcock was keen on. It also has the ironic touches, such as when Mr. Milland, as the jealous husband, kisses his unfaithful wife on the night she is to be murdered, and tells her: "Goodbye, my dear." The audience, having been given every single little detail about the scheme and how it is to unfold, cringes with a dark realization that Mr. Hitchcock might just go through with Mr. Milland's plot. Mr. Hitchcock, as the director, is also due tremendous credit for his trademark of creating tension. Screenwriter Knott brilliantly lays out for the audience, not the victim, how the murder will go through, but Mr. Hitchcock's camera dutifully follows everything as the scheme goes along. And, before we realize it, if something starts to go wrong, we become scared and tense. And you can imagine my guilt when I realized I was feeling scared that a plan to murder someone just might not go through. It's Mr. Hitchcock's gift at work.

Dimitri Tiomkin, a very good film composer, hits all the write notes; that includes knowing when he needs to tell his violins and trumpets to shut up. Robert Burks' cinematography is also strong with effective usage of shadows and streaks of light. Colors are omnipresent. And even though "Dial M for Murder" was shot with the intent to be seen in 3D, it is hardly evident. When I first saw the film, in much superior 2D, I did not mind the lamps and such in the foreground, such as when one bisects the screen between Ray Milland and Anthony Dawson during the opening sequence. I just thought it was a clever piece of filmmaking and misc en scene, not a cheap gimmick like in most 3D movies today. "Dial M for Murder" is a near-perfect movie of its kind, pumped full of smart dialogue and dazzling energy. This is one of the few play-to-movie transition that I have seen where I have suddenly become eager to see the original stage production.

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