Originally intended to be shown in dual-strip polarized 3-D, the film played in most cinemas in ordinary 2-D owing 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 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 had stolen Margot's handbag, which contained a love letter from Mark, and had 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 at 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 put the key back under the staircase carpet as he is leaving the building.
The following night Swann enters the flat and Tony rings 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)
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.
Cummings had previously made Saboteur for Hitchcock.[10]
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.[11]
Release
Dial M for Murder was shot using Warner Bros.' own proprietary 3-D camera rig, the so-called All-Media Camera.[12][13] 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.[2]
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."[14]
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."[15]
The dual-strip system was used for the February 1980 revival of the film in 3D at the York Theater in San Francisco, California.[16] 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.[17] 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.[18]
Warner Bros. released Dial M for Murder as a 3D Blu-ray on October 9, 2012.[19]
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."[20]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."[21]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."[22]
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."[23]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".[24]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."[25]
On the review aggregator website Rotten Tomatoes, 90% of 50 critics' reviews are positive, with an average rating of 7.40/10. The website's 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."[26] In 2012, The Guardian called the film "a taut, acidly funny thriller".[27]
As it is considered one of the classic examples of a stage thriller, Dial M for Murder has been adapted a number of times. 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.[30]
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, California. 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.[31] That and other changes garnered critical praise.[31] The adaptation has enjoyed many productions since its premiere.[32][33]
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.[38]
In 1956, NBC aired a television film in which Maurice Evans (as Tony), Williams and Dawson all repeated their roles from the original Broadway play.[2]ABC produced a two-hour color version in 1967 featuring Laurence Harvey as Tony, Diane Cilento as Margot and Hugh O'Brian as Max.[2][39]
The episode "The Fifth Stair" of the TV series 77 Sunset Strip recreated Dial M for Murder, with Richard Long portraying Tony Wendice.[40]
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.[42]
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.[43]
