Originally intended to be shown in dual-strip polarized 3-D, the film played in most theatres in ordinary 2-D due to the loss of interest in the 3-D process (the projection of which was difficult and error-prone) by the time of its release.[6] The film earned an estimated $2.7 million in North American box office sales in 1954.[7]
Plot
In the mid-1950s, Tony Wendice, a retired English professional tennis player, is married to wealthy socialite Margot, who has been having an affair with their friend Mark Halliday, an American crime-fiction writer. Unbeknownst to them, Tony knows about the affair and plots Margot's murder to inherit her fortune, fearing a divorce would leave him penniless.
Tony is also aware that Charles Swann, an old acquaintance from Cambridge University, is a small-time con man with a criminal record. Tony invites Swann to his Maida Vale flat on a pretext, and tells him about Margot's affair. Tony also confides that six months previously, he stole Margot's handbag, which contained a love letter from Mark, and anonymously blackmailed her. After tricking Swann into leaving his fingerprints on the letter, Tony entraps him, threatening to turn him in as Margot's blackmailer unless he kills Margot. With the added inducement of £1,000 in cash, Swann agrees to the murder. Tony then explains that he and Mark will attend a party while Margot stays home alone. At a specific time when Margot is certain to be in bed, Swann will enter the front door, which is always unlocked, and will enter the locked door of the flat with Margot's latchkey, which Tony will hide on the staircase under a carpet. Tony will then telephone the flat from the party and Swann will kill Margot when she answers the call. Swann will whistle over the phone to signal the job is done, then create signs of a burglary gone wrong, and return the key back under the staircase carpet as he is leaving the building.
The following night, Swann enters the flat and Tony calls as planned. When Margot comes to the phone, Swann tries to strangle her with his scarf, but she fatally stabs him with scissors. Upon hearing Margot plead for help instead of Swann's whistle, Tony advises her not to speak to anyone. He returns home, calls the police, sends Margot to bed, and transfers what he thinks is Margot's key from Swann's pocket into her handbag. He also attempts to frame Margot by planting Mark's letter on Swann and destroying Swann's scarf.
The next day Tony persuades Margot to hide the fact that he told her not to call the police. Chief Inspector Hubbard arrives to question the Wendices, though Margot makes several conflicting statements. When Hubbard says the evidence indicates that Swann entered through the front door, Tony claims that Swann must have been responsible for stealing Margot's handbag, and made a copy of her key. As Tony intends, Hubbard does not believe the story and arrests Margot after concluding that she killed Swann for blackmailing her. Margot is found guilty of murder and sentenced to death.
Months later, on the day before Margot's scheduled execution, Mark visits Tony, saying he has devised a story for him to tell the police to save Margot. Mark's "story" is very close to what actually happened: that Tony paid Swann to kill Margot. If Tony confesses to Mark’s story, Tony would go to jail for a while, but Margot would be saved. Hubbard arrives unexpectedly, and Mark hides in the bedroom. Hubbard asks Tony about large sums of cash he has been spending around town, tricks Tony into revealing that his latchkey is in his raincoat, and inquires about Tony's attaché case. Tony claims to have misplaced the case, but Mark, overhearing the conversation, finds it on the bed, full of banknotes. Deducing that the money was Tony's intended payoff to Swann, Mark confronts Tony and explains his theory to Hubbard. Tony "confesses" that the cash was Margot's blackmail payment to Swann, which he had concealed to protect her. Hubbard appears to accept Tony's explanation, and Mark leaves angrily. Hubbard discreetly swaps his own raincoat with Tony's. As soon as Tony leaves, Hubbard uses Tony's key to re-enter the flat, followed by Mark. Hubbard previously discovered that the key in Margot's handbag was Swann's own latchkey and deduced that Swann had put the Wendices' key back in its hiding place after unlocking the door. Now, correctly suspecting Tony of having conspired with Swann, Hubbard has developed an elaborate ruse to trap him.
Plainclothes police officers bring Margot from prison to the flat. She tries unsuccessfully to unlock the door with the key in her handbag, then enters through the garden, proving to Hubbard that she is unaware of the hidden key and is therefore innocent. Hubbard has Margot's handbag returned to the police station, where Tony retrieves it after discovering that he has no key. The key from Margot's bag does not work, so he uses the hidden key to open the door, demonstrating his guilt and exonerating Margot. With his escape routes blocked by Hubbard and another policeman, Tony calmly makes himself a drink and congratulates Hubbard.
Martin Milner as policeman outside Wendice flat (uncredited)
George Leigh as Detective Williams
George Alderson as First Detective
Production
After I Confess (1953), Hitchcock planned to film The Bramble Bush, based on the 1948 novel by David Duncan, as a Transatlantic Pictures production, with partner Sidney Bernstein. However, there were problems with the script and budget, and Hitchcock and Bernstein decided to dissolve their partnership. Warner Bros. allowed Hitchcock to scrap the film, and begin production on Dial M for Murder.[8]
Mark's name was changed for the film; in the original play, he was Max Halliday.[9] Actors Dawson and Williams reprise their Broadway roles as Swann/Captain Lesgate and Inspector Hubbard, respectively.
Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Dial M for Murder, he can be seen thirteen minutes into the film, in a black-and-white reunion photograph, sitting at a banquet table among former students and faculty.
Release
Dial M for Murder was shot using Warner Bros.' own proprietary 3-D camera rig, the so-called All-Media Camera. After one preview performance on May 18 and four showings on the May 19, a Philadelphia theater manager frantically contacted the studio and said that people were staying away in droves. He asked for permission to drop the 3-D and show the film flat.
The Philadelphia Inquirer reported on May 23 that the "first audiences proved to be a jury that could not only make up its mind, but could make it up in a hurry. In exhibitors' own terms, "DIAL M" literally died. And after just four performances on Wednesday, some long-distance telephoning to report complaints, the increasing skimpiness of customers—a good many of them making no bones of their dissatisfaction—permission was given to throw away the glasses and hastily switch to the 2-D version. Whereupon business at the Randolph took a turn for the better."[10]
Dial M for Murder marked the end of the brief flirtation with 3-D films of the early 1950s. Hitchcock said of 3-D: "It's a nine-day wonder, and I came in on the ninth day."[11]
The dual-strip system was used for the February 1980 revival of the film in 3D at the York Theater in San Francisco, California. This revival performed so well that Warner Bros. did a limited national re-release of the film in February 1982 using Chris Condon's single-strip StereoVision 3-D system. The re-release included a sold-out engagement at the Detroit Institute of Arts.
The film was shown in 3D in some UK cinemas during the summer of 2013 and in Italy at the beginning of fall of the same year.[12]
Warner Bros. released Dial M for Murder as a 3D Blu-ray on October 9, 2012.
Reception
"This is a technical triumph that Hitchcock has achieved", wrote Bosley Crowther of The New York Times in a favourable review. "It is one for which he needed good actors. He has them—and the best of the lot is John Williams, late of the stage play, who is the detective who solves the sinister ruse."[13]Variety wrote: "There are a number of basic weaknesses in the set-up that keep the picture from being a good suspense show for any but the most gullible. Via the performances and several suspense tricks expected of Hitchcock, the weaknesses are glossed over to some extent but not enough to rate the film a cinch winner."[14]Harrison's Reports wrote that the film "shapes up as no more than a mild entertainment, despite the expert direction of Hitchcock and the competent acting of the players. The chief weakness is that the action is slow, caused by the fact that the story unfolds almost entirely by dialogue."[15]
Richard L. Coe of The Washington Post called the film "completely choice", with Williams and Dawson "smooth as silk in reprising their stage roles", adding, "Hitch has a field day with his camera angles, darting our eyes now here, now there, doing tingling tricks with shadows and long longshots in quick contrast to fuzzed close-ups. It's the work of a master enjoying his script."[16]John McCarten of The New Yorker wrote a generally positive review, writing that he wished the script would give Hitchcock "a chance to cut loose with one of those spectacular chases he used to specialise in", but finding that after a talky opening 30 minutes, "things speed up once the murder wheels are set in motion, and eventually the piece becomes grimly diverting".[17]The Monthly Film Bulletin wrote that the film "offers the prolific Hitchcock little more than an opportunity to carpenter a neat piece of filmed theatre—an opportunity which perhaps satisfied the master a little more than it does us ... The characters are fitted to their situations, and hardly exist in themselves (nor are they enlivened by the rather drab performances of Ray Milland, Grace Kelly and Robert Cummings); only John Williams' dry, sardonic police inspector has a touch of individuality."[18]
On the review aggregation website Rotten Tomatoes, the film holds a rating of 90% based on 50 reviews, with an average rating of 7.40/10. The site's critical consensus reads: "Dial M for Murder may be slightly off-peak Hitchcock, but by any other standard, it's a sophisticated, chillingly sinister thriller -- and one that boasts an unforgettable performance from Grace Kelly to boot".[19] In 2012, The Guardian called the film "a taut, acidly funny thriller".[20]
A Perfect Murder is a 1998 remake directed by Andrew Davis in which the characters of Halliday and Swann are combined, with the husband (Michael Douglas) both hiring and coercing his wife's lover (played by Viggo Mortensen) into a scheme to kill her (Gwyneth Paltrow). However, the lover hatches a revenge plot against the husband. Things go disastrously wrong for both of them, bringing in the cold, smoothly dogged police inspector (David Suchet), whose role is much reduced, as it is Gwyneth Paltrow's character, the wife, who unravels much of the mystery.
The television series Alfred Hitchcock Presents premiered in the United States the year after Dial M for Murder was released. The main character in an episode from the series's first season, "Portrait of Jocelyn", is named Mark Halliday. In the episode, Halliday's wife, Jocelyn, has disappeared several years earlier, and at the conclusion, it is revealed that he murdered her.[citation needed]
The episode "The Fifth Stair" of the TV series 77 Sunset Strip recreated Dial M for Murder, with Richard Long portraying Tony Wendice.
The third episode of the sixth season of Frasier is titled "Dial M for Martin". The plot centres on the title character's father believing that his younger son is subconsciously trying to kill him when he is beset by a series of mishaps seemingly caused by Frasier's younger brother, Niles.
In February 2008, Charlize Theron recreated one of the stills from the movie as Margot Mary Wendice for Variety Fair'sThe 2008 Hollywood Portfolio: Hitchcock Classics spread.[26]
The season 1 finale of the TV series Archer is titled "Dial M for Mother" in reference to the film. In the episode, Sterling Archer is given a brain implant, which makes him subconsciously want to kill his mother Malory.
The New Vic Theatre staged a production of the play in its main house (in the round) in 2017. It was directed by Peter Leslie Wild, and the cast featured William Ellis as Tony. The play received positive press reviews.[27]
In 2022, another stage adaptation of Dial M for Murder written by Jeffrey Hatcher and approved by the Knott estate opened at the Old Globe Theater in San Diego, CA. Hatcher kept the original setting of 1950s London but changed the character of "Max Halliday" to "Maxine Hadley," making the love affair with Margot a lesbian one. That and other changes garnered critical praise. The adaptation has enjoyed many productions since its premiere.[citation needed]
Sir Alfred Joseph Hitchcock was an English film director. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", Hitchcock became as well known as any of his actors thanks to his many interviews, his cameo appearances in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director, despite five nominations.
Ray Milland was a Welsh-American actor and film director. He is often remembered for his portrayal of an alcoholic writer in Billy Wilder's The Lost Weekend (1945), which won him Best Actor at Cannes, a Golden Globe Award, and ultimately an Academy Award—the first such accolades for any Welsh actor.
Rear Window is a 1954 American mystery thriller film directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrich's 1942 short story "It Had to Be Murder". Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. It was screened at the 1954 Venice Film Festival.
Laurence Harvey was a Lithuanian-born British actor and film director. He was born to Lithuanian Jewish parents and emigrated to South Africa at an early age, before later settling in the United Kingdom after World War II. In a career that spanned a quarter of a century, Harvey appeared in stage, film and television productions primarily in the United Kingdom and the United States.
My Favorite Year is a 1982 American comedy film released by Metro-Goldwyn-Mayer, directed by Richard Benjamin and written by Norman Steinberg and Dennis Palumbo from a story written by Palumbo. The film tells the story of a young comedy writer and stars Peter O'Toole, Mark Linn-Baker, Jessica Harper, and Joseph Bologna. O'Toole was nominated for the Academy Award for Best Actor. The film was adapted into an unsuccessful 1992 Broadway musical of the same name.
A Perfect Murder is a 1998 American crime thriller film directed by Andrew Davis and starring Michael Douglas, Gwyneth Paltrow, and Viggo Mortensen. It is a remake of Alfred Hitchcock's 1954 film Dial M for Murder, though the characters' names have been changed and much of the plot has been rewritten and altered from its original form. Loosely based on the play by Frederick Knott, the screenplay was written by Patrick Smith Kelly.
John Williams was a British stage, film, and television actor. He is remembered for his role as Chief Inspector Hubbard in Alfred Hitchcock's Dial M for Murder, as the chauffeur in Billy Wilder's Sabrina, as Mr. Brogan-Moore in Witness for the Prosecution (1957), and as the second "Mr. French" on TV's Family Affair in its first season (1967).
Frenzy is a 1972 British thriller film directed by Alfred Hitchcock. It is the penultimate feature film of his extensive career. The screenplay by Anthony Shaffer was based on the 1966 novel Goodbye Piccadilly, Farewell Leicester Square by Arthur La Bern. The film stars Jon Finch, Alec McCowen and Barry Foster and features Billie Whitelaw, Anna Massey, Barbara Leigh-Hunt, Bernard Cribbins and Vivien Merchant. The original music score was composed by Ron Goodwin.
Gary Fred Merrill was an American film and television actor whose credits included more than 50 feature films, a half-dozen mostly short-lived TV series, and dozens of television guest appearances. He starred in All About Eve and married his costar Bette Davis.
Margot is a feminine given name, a diminutive of Marguerite. It is also occasionally a surname. Persons named Margot include the following:
Anthony Douglas Gillon Dawson was a Scottish actor, best known for his supporting roles as villains in films such as Alfred Hitchcock's Dial M for Murder (1954) and Midnight Lace (1960), and playing Professor Dent in the James Bond film Dr. No (1962). He also appeared as Ernst Stavro Blofeld in From Russia with Love (1963) and Thunderball (1965).
Sisters is a 1972 American psychological horror film directed by Brian De Palma and starring Margot Kidder, Jennifer Salt, and Charles Durning. It follows a French Canadian model's separated conjoined twin who is suspected of having committed a brutal murder witnessed by a newspaper reporter in Staten Island, New York City.
Elliott Pershing Stitzel, better known by his stage name Stephen Elliott, was an American actor. His best known roles were that of the prospective father-in-law, Burt Johnson, in the hit 1981 film Arthur and as Chief Hubbard in the 1984 blockbuster Beverly Hills Cop.
Nancy Allen is an American actress. She came to prominence for her performances in several films directed by Brian De Palma in the 1970s and early 1980s. Her accolades include a Golden Globe Award nomination and three Saturn Award nominations.
An inverted detective story, also known as a "howcatchem", is a murder mystery fiction structure in which the commission of the crime is shown or described at the beginning, usually including the identity of the perpetrator. The story then describes the detective's attempt to solve the mystery. There may also be subsidiary puzzles, such as why the crime was committed, and they are explained or resolved during the story. This format is the opposite of the more typical "whodunit", where all of the details of the perpetrator of the crime are not revealed until the story's climax. The first such story was R. Austin Freeman's The Case of Oskar Brodski published in Pearson's Magazine in 1912.
Aitbaar (transl. Trust) is a 1985 Indian Hindi-language thriller film directed by Mukul Anand. It stars Raj Babbar, Dimple Kapadia, Suresh Oberoi, Danny Denzongpa, Sharat Saxena in pivotal roles. It was a remake of Alfred Hitchcock's 1954 thriller Dial M For Murder. It was further remade in Tamil in 1985 as Saavi and in Malayalam in 1989 as New Year.
Auguste "Gusti" Huber was an Austrian-American actress. She had a successful career on Broadway and was critically acclaimed as Edith Frank in the 1956 production of The Diary of Anne Frank.
Frederick Major Paull Knott was an English playwright and screenwriter known for complex crime-related plots. Although he was a reluctant writer and completed a small number of plays, two have become well-known: the London-based stage thriller Dial M for Murder, later filmed in Hollywood by Alfred Hitchcock, and the 1966 play Wait Until Dark, which was adapted to a Hollywood film directed by Terence Young. He also wrote the Broadway mystery Write Me a Murder.
Dial M for Murder was a British TV crime drama, episode 12 of the third season of the series Sunday Night Theatre. It was aired on 23 March 1952.
Saavi is a 1985 Indian Tamil-language crime thriller film, written and directed by Karthik Raghunath. The film stars Sathyaraj, Jaishankar, Saritha and Nizhalgal Ravi, with music composed by Gangai Amaran. It is a remake of 1985 Hindi film Aitbaar which itself is based on the 1954 American film Dial M for Murder. The film was released on 10 October 1985.
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