Dial Hmmm...for Murder

[MissGoddess]

I love finding new ways to look at an old favorite, and I admit the article below analyzing Hitchcock's classic Dial M for Murder, made me go "hmmm....." The writer points out a number of things I never would have considered or noticed and he has a completely different take on Milland's character than I hold. See what you think:

http://tinyurl.com/2m2nb5

[moira finnie]

I saw this movie for the first time recently, and enjoyed the performance of Ray Milland very much. As Matt Brennan, the thoughtful author of the critique that you linked to your post illustrates, the sense of claustrophobia created by Hitchcock's concentration on the 4 walls of that comfortable--maybe too comfortable--apartment, and the superficially placid relationship of Grace Kelly and Milland are key to the success of this film.

I was also struck by the interesting way that Hitchcock managed to make adultery understandable and almost laudatory in this film. The director seems to be pursuing that same subversive thread that he began examining so much more boldly as his career progressed in Shadow of a Doubt and Strangers on a Train, asking "what makes evil so fascinating?"

Miss Kelly, whose doll-like perfection and acting talent have always seemed pretty superficial to me, was used most effectively by Hitchcock here. In his view, she becomes a mysterious figure, with the viewer believing that her "still water runs deep". The director also seems to enjoy startling the viewer by making those quick cuts from the somewhat perfunctory morning kiss for her husband at the breakfast table, followed by her avid one when greeting Robert Cummings.

Perhaps it's my general aversion to Cummings' acting (in other than King's Row & Saboteur), but his smug mystery writer really irked me. He's so calmly confident that he can finesse cuckolding Milland and arrange the acquisition of his wife for himself without breaking a sweat, that I'm really pleased inside when subsequent events lead to his discomfort and shake up that complacent, clockwork world view of his character!

Despite the fact that we're shown what a rotter the Milland character is during the film, my sympathies were completely with him throughout the movie, perhaps because he plays(--and almost overplays at times), his character with such relish!

One quibble with the good review by Mr. Brennan: he, and other critics, rarely acknowledge the well constructed play by Frederick Knott that provides the basis for this stylish film.

Hitchcock's refusal to "open up" the play for the movie and his attention to detail provides a fine showcase for the story, but it is Knott's cat and mouse game between Milland, the blackmailed cat's paw, Anthony Dawson, John Williams' nimble police inspector and the adulterous pair of lovers that gives the film alot of its juice, and that play script deserves a nod of respect for providing this entertainment.

[Mr. Arkadin]

Actually, many people link Dial M as a follow up to Strangers on a Train. Ray Milland and Grace Kelly being the logical end to Farley Granger and Ruth Roman whose marriage was only made possible by the murder of Grangers first wife.

The dresses Grace wears reflect her sexuality, moods, innocence, lowered self worth and beaten resolve (red for kissing Robert Commings, White when she is the sacrifical lamb standing in the way of Milland's supposed happiness, etc). It's interesting to note that these colors are all played back in the correct order on Kellys face during the montage of the trial--as if to relive the events.

This reviewer got some things wrong though. Milland character quit playing tennis not because he lost his skill, but because his wife felt the separation was ruining their relationship and wanted more out of him as a husband--more than he was willing to give.

She starts an affair with Cummings which Milland discovers and promptly ends his tennis career to keep a closer eye on her. All in all it was never love on Milland's side, Kelly was always just a source of income. It's Milland's desire to "have it all" that causes him to reach for the brass ring.

I personally never noticed Milland "cleaning up" either. That he feels emasculated because his dream of being a tennis pro is gone is true, but actually it's when Grace leaves that we begin to see Milland for who he is--a messy sloppy human being.

If you look at things from Grace's perspective, she ended her relationship with Cummings to stay with her husband (although she still has feelings for him). Kelly is also pawing all over Milland when he is stealing the key from her handbag. She also stays home when Milland wants her to instead of going out to the movies.

Grace also depends totally on Milland when she is questioned--not mentioning key evidence as he instucts her. Proof of her blind devotion and trust in him. Cummings whose help she does NOT solicit, is in fact the one person trying to save her.

Hitch banged this film out relatively quicky (36 days!) and never had much to say about it, but clearly there is a lot here. I think Dial M while a popular film, is also one of Hitchcock's least appreciated in regards to his style and ability.

[MissGoddess]

Moira---thanks for sharing so many insights. The article and discussions make me eager to watch the film again soon. I always pick up things in Hitch's movies that I overlooked---the painstaking detail he goes into every square inch of the screen (and the performances, and the script) satisfy me that his films will never tire me no matter how often I watch them.

And I totally agree about Cummings, besides Kings Row and Saboteur I've never had much patience for him; yet I really am charmed by "Tony Wendice"!

Arkadin---you really made me open my eyes to that connection between Strangers on a Train.