DIAL M It may not be the most acclaimed Alfred Hitchcock film, but “Dial M for Murder” is an intelligent and capable murder mystery adapted from Frederick Knott’s play. While there are special Hitchcock touches throughout the film, it’s Knott who really makes this such a memorable picture. He wrote the screenplay and kept most of his original work intact. The movie sharply resembles a play particularly by the fact that the majority of the film takes place in one single setting, a London apartment. Also, the dialogue flows in a way that favors what you would see on stage. But it’s that same dialogue delivered by some really strong performances and mixed with Hitchcock’s slick use of the camera that gives this movie it’s appeal.

“Dial M for Murder” explores the idea of the perfect murder. Ray Milland plays Tony Wendice, a professional tennis player who has enjoyed a lavish lifestyle thanks to his wife Margot’s wealth. After growing frustrated with Tony’s constant absence and busy schedule, Margot (Grace Kelly) begins a fling with an American writer named Mark Halliday (Robert Cummings). Tony finds out about the affair and fearing the loss of his meal ticket, he plans the murder of his unfaithful wife, leaving him her fortune. It’s a foolproof plan, carefully thought out to the smallest detail. But what may look good on paper doesn’t always translate well into real life.

The story is straightforward but structured and it pays great attention to the details. Clues are littered throughout the film with almost every seemingly small action from the characters having some type of relevance. It’s such a tight-knit and well-crafted story and watching it unfold is very satisfying. The story never trips over itself and Hitchcock let’s Knott’s script do most of the heavy lifting. The dialogue drives the film and it doesn’t rely on twists, turns, or red herrings. In fact, the narrative moves in a fairly straight line and never strays from it’s path. But I found it effective especially considering the movie is basically a single location cinematic play.

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A movie of this sort only works with strong and grounded performances and “Dial M for Murder” certainly has them. I love watching Ray Milland’s shrewd and savvy Tony. He perfectly relays Tony’s arrogance and overconfidence in a way that never feels disingenuous or overwrought. He has a remarkable screen presence and is perfectly cast. Speaking of screen presence, the gorgeous Grace Kelly is mesmerizing. Whether it be her physical beauty and elegance or her graceful and authentic performance, Kelly steals almost every scene she’s in. I also loved John Williams as Inspector Hubbard. He’s fun, smart, and never misses a beat.

I suppose the location restrictions and the straightforward story could be considered faults especially for those comparing this film to some of Hitchcock’s other movies. But I loved how Hitchcock keeps the Wendice’s apartment fresh with inventive camera shots and clever angles. I can also appreciate the direct although conveniently tidy narrative. It’s an intelligent film that puts a solid story in the hands of some fantastic actors and lets them go from there. I always have fun with “Dial M for Murder” and it’s strongest message is this – keep up with your latchkey!

VERDICT – 4.5 STARS

REAR Alfred Hitchcock’s suspense thriller “Rear Window” is revered by many as one of the director’s finest films. You would have a hard time getting me to disagree. “Rear Window” is a voyeuristic mystery picture that takes place in one single confined location and is all shown from the perspective of the main character. It’s an interesting approach to storytelling but one that’s very effective. There are many recognizable Hitchcockian touches throughout the picture yet it retains a uniqueness that separates it from most of his other films.

The story is seen through the eyes of L.B. “Jeff” Jeffries, an accomplished photographer who is confined to a wheelchair after breaking his leg while on assignment. He spends his time observing his neighbors through the window of his small Greenwich Village apartment. It grows into an obsession for him as he becomes infatuated with what he sees while peeping through their windows. Jeff is a man filled with insecurities and he seems more comfortable living out his life through the lens of his binoculars. In many ways he’s a sad individual who has so many good things within his grasp yet he lacks the confidence to reach out and take them. He begins to suspect a possible murder in one of the apartments and the second half of the film follows his attempt to either prove it or be disproved.

Hitchcock hits head-on the peeping tom mentality that certainly existed then but that’s even more prevalent in today’s reality tv-fueled society. Jeff crosses the boundaries of simple curiosity into full-blown voyeurism and we are right there with him. I found myself just as riveted by what’s on the other end of the binoculars as he was. Several people try to tell Jeff what he’s doing is wrong including his beautiful girlfriend Lisa (Grace Kelly) and his home nurse Stella (Thelma Ritter), but even they fall victim to this creepy temptation. Yet it’s hard to look down on these three characters. Hitchcock exposes some levels of the same voyeuristic compulsions within the audience as we watch things unfold with the same curiosity-driven intensity as Jeff, Lisa, and Stella. Hitchcock causes us to ask if we’re really that different from them?

I was also intrigued with the way Hitchcock introduces and develops some of his characters. We get to know several people simply by watching them through Jeff’s window. There’s the beautiful Miss Torso, a dancer who occasionally practices in her undies and parties with several male suitors; Miss Lonelyhearts, a sad, depressed woman who has dinner dates with imaginary men; Mr. Thorvald and his bedridden wife; a struggling songwriter, a newlywed couple, and several others. What’s amazing is that we learn a lot about these characters simply by what we observe. It’s a beautiful method of storytelling that adds so much to the picture.

“Rear Window” was filmed on what was at the time the largest constructed set at Paramount. The entire picture takes place in this elaborate neighborhood and, with the exception of a small courtyard, it’s close-quartered construction gives it an almost claustrophobic feel. Hitchcock’s camera sleekly captures the characters as they move from window to window and down strategically placed hallways and alleys. Equally impressive is his skillful use of lighting combined with sound that’s centered around a natural ambiance. Simply put, “Rear Window” is a technically savvy picture that accomplishes a lot within a small compact environment.

For my money “Rear Window” is some of Hitchcock’s best work. It’s straightforward and mysterious at the same time and features characters that are more complex than they appear on the surface. It’s really a simple story that’s a little slow out of the gate but soon has you peeping over Jeff’s shoulder gazing into the living rooms of his neighbors. The intensity ratchets up in the final few scenes and the payoff is very satisfying. “Rear Window” is certainly near the top of Hitchcock’s resume and features a special brand of artistry that’s impossible to dislike.