Tag Archive: John Williams


TO CATCH A THIEF (1955) – Paramount – ★★★★

Color – 106 minutes – 1.85:1 aspect ratio

Directed by Alfred Hitchcock

Principal cast:  Cary Grant (John Robie), Grace Kelly (Frances Stevens), Jessie Royce Landis (Jessie Stevens), John Williams (H. H. Hughson), Brigitte Auber (Danielle Foussard).

Screenplay by John Michael Hayes, from the novel by David Dodge

Cinematography by Robert Burks

Edited by George Tomasini

Music by Lyn Murray

Costumes by Edith Head

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   Alfred Hitchcock entered 1955 riding a hot streak, with the back-to-back smash hits Dial M For Murder and Rear Window, and that streak would continue with To Catch A Thief.    The movie opens with one of Hitchcock’s typical vignettes.  A black cat creeps on a rooftop.  Cut to a woman screaming; her jewels have been stolen.  Cut to the same black cat, slinking by a windowsill.  Then another woman screaming.  Finally we cut to a black cat sleeping comfortably on Cary Grant’s sofa, as he reads a newspaper article about a jewel thief named “the cat”.   A simple but effective story set up.

 To Catch A Thief is often cited as Hitchcock lite:  a good-looking movie that offers little of the subtext or dark undercurrents to be found in many of his best movies.  Actually, all of Hitchcock’s favorite themes are on display here, and while the tone is light, the movie is always entertaining, and pleasing to the palate.

First of all, we have the innocent man falsely accused, in the form of Cary Grant’s John Robie.  A man who was once a jewel thief, but who now just wishes to live quietly in his villa near the French Riviera (don’t we all?)  But now, someone has begun stealing jewels, using his methods, and the police want to arrest him.  The difference between this movie and the many others with this theme is that the action is more static here;  this is a chase movie of sorts, but without constantly changing scenery and set pieces.  This all plays out in the same locale.   So there is not the same sense of menace that we feel in movies like North by Northwest or The 39 Steps.  One never truly feels like Grant is in any real danger.   (And yet, having said that, the rooftop finale is thrilling.)

Next we have the icy maiden as leading lady.  Grace Kelly’s character has a cool demeanor, but inside she is about to bubble over.   She is Frances Stevens, travelling in Europe with her rich mother, whose jewels are a target for the thief.  Observe the transformation of Kelly’s character as the movie progresses, and she becomes more overtly sexual.  Interestingly she is also turned on by the thought of Cary Grant’t character being a thief.  She wants him to be a thief; as a matter of fact, she is willing to help him steal.    Kelly had quickly become Hitchcock’s favorite leading lady, this being their third consecutive film together.  And her performance here is outstanding.

How about the domineering mother?  Grace Kelly’s mother is perfectly played by Jessie Royce Landis, who would later play Cary Grant’s mother in North by Northwest.  Her level head and straight talk make her a polar opposite of her daughter, and provide many of the best moments in the film.

And subtle (or not so subtle) sexual humor?   This film contains more double entendres than any film Hitchcock ever made.  Special acknowledgment goes to John Michael Hayes, who crafted a screenplay that is full of more quotable lines than five average movies.  His dialogue is witty, flirty, breezy, and never boring.

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And a great climax, occuring in a high place?  John Robie unmasks the real cat thief, and clears his name, on the rooftop of a French villa, which has just hosted a lavish costume party.  The entire party sequence is a lovely set piece, with gorgeous costumes designed by Edith Head (of course) who once said this was her favorite movie to work on.

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Above you can see the gorgeous set from the film’s finale,  on a sound stage at Paramount.

Some people have delved deeper into this movie, examining themes of guilt and trust, but since Hitchcock himself said the movie was not meant to be taken seriously, we will take him at his word.   But just because it is not serious does not mean it is not worth watching.  It is expertly made, gorgeously shot, well acted, with a memorable and funny screenplay.

Performances:  As is usually the case in Hitchcock movies, some of the most interesting performances are in the supporting cast.  Of course the two leads are great, as I’ve already mentioned.  But equally great is John Williams as insurance man H.H. Hughson.  And Jessie Royce Landis steals every scene she is in.   Her part is very well written, but she elevates the character beyond the written word.  And Brigitte Auber, as the second love interest for Cary Grant, is quite good as well.

Source material:  The movie is based on a novel by David Dodge.   Considering it is over 60 years old, the novel reads very well today.  It’s tone is light, and it breezes along, much like the movie.  The main plot points were all transferred from the book directly to the movie.  There are some minor changes.  In the novel, Robie actually dons a physical disguise after fleeing from the police at his villa, so they will not recognize him.  Robie also has a friend named Paul, a character that is eliminated from the movie altogether.  This friend falls in love with Danielle, the jewel thief, which complicates things at the ending.  Although screenwriter John Michael Hayes kept much of the plot, he did bring a lot of original dialogue to the movie.  Dialogue was Hayes’ specialty, and this screenplay features many gems.   As mentioned before, he packs the screenplay with double entendres;  it’s amazing that they all passed muster with the censors.

Academy awards:  Robert Burks won a much-deserved Oscar for Best Color Cinematography.  The movie was also nominated in the Best Costume and Best Color Art Direction-Set Decoration categories.

Robert Burks, cameraman:  Rather than a full scene deconstruction, we are going to take a look at one sequence in the movie, with particular attention paid to Robert Burks Oscar-winning cinematography.  Burks was the director of photography on 12 of Alfred Hitchcock’s films.  In addition to this movie, he shot Rear Window, Vertigo, North by Northwest, and 8 other titles.  One could argue that he was the most important technical collaborator of Hitchcock’s career.

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This is the scene where Frances Stevens (Grace Kelly) attempts to seduce John Robie (Cary Grant).  She is attempting to lure him with both her body and the necklace she is wearing.   In the shot above, Kelly’s face is in the shadows, forcing Robie’s (and the viewer’s) attention to the objects of desire. The green light on the curtains is a great touch as well.

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The two are drawn closer together, with Grace Kelly’s character being the aggressor, while Cary Grant’s Robie is on the defensive.  Look at the above shot.  First, the two characters frame the window.   Grant stands rigid, while Grace Kelly is relaxed, seductive.  The fireworks are on display behind them.  Next observe the color composition.  Out the window is a deep blue.  The streak of green runs through the center of the frame, with the actors standing just inside it.  You can see that Grace Kelly’s hair appears green.  The light has almost a pinkish tint on the right, and there are deep shadows in the top left of frame, and bottom right.

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The characters are slowly drawn together, then they part.  Grace Kelly sits down on the couch, and now we are seeing her from Grant’s point of view; she is bathed in a brighter, natural light, finally showcasing her absolutely breathtaking face.

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Back to a two-shot as Grant joins her on the couch.  Now they are surrounded again by that ethereal green light as they draw into a kiss and recline ontocatchathief6

Next, a cut to the fireworks out the window.  This may be the on-screen birth of the now-trite fireworks as sex metaphor.

 

Where’s Hitch?  Alfred Hitchcock’s cameo appears at about the 9:38 mark of this movie.  It is one of the most self-aware cameos of his career.  Cary Grant boards a bus outside his villa, and takes a seat in the very back.  On the seat to his right sits a birdcage with some birds in it.  He then looks to his left, and the camera pans over to show Hitchcock sitting right next to him, stoically looking ahead.

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Recurring players:  Cary Grant had appeared in Suspicion and Notorious, and would later appear in North by Northwest.  Grace Kelly had earlier starred in Dial M For Murder and Rear Window.  Jessie Royce Landis would appear with Cary Grant again (as his mother!) in North by Northwest.  The inimitable John Williams had already been in The Paradine Case and Dial M For Murder.  Lewis Charles (man with milk saucer in Bertanis) would later appear in Topaz.  Steven Geray had earlier appeared in Spellbound.  Gladys Holland (woman at roulette table), Edward Manouk (kitchen helper), Louis Mercier (croupier) and Donald Lawton (police detective) would show up briefly in The Man Who Knew Too Much remake.  Barry Norton had earlier had a bit part in Strangers on a Train, and Loulette Sablon had a bit part in Foreign Correspondent.  And lets not forget Bess Flowers, the most prolific extra in Hollywood history, who was an extra in this and seven other Hitchcock movies.

Cary Grant and the stalwart John Williams

Cary Grant and the stalwart John Williams

What Hitch said:  Alfred Hitchcock had very little to say about this movie, over the years.  He did call it “a lightweight story” and say “it wasn’t meant to be taken seriously.”

 Definitive edition:  Paramount released this movie on blu ray in 2012.  This print of the movie is breathtaking.  Edith Head’s beautiful costumes, and Robert Burks’ Oscar-winning cinematography are on fine display.  The blu ray contains a dry-but-informative commentary track by Drew Casper, and numerous featurettes:  A Night With the Hitchcocks, Film Censorship in Hollywood, Writing and Casting, The Making of, Behind the Gates, Alfred Hitchcock and To Catch A Thief, Edith Head:  The Paramount years, and Interactive Travelogue.  Also included are photo galleries and the original theatrical trailer.  It’s a shame Paramount did not port over the commentary track from the earlier DVD release, featuring Peter Bogdanovich and Laurent Bouzereau.  Their lighter tone was more suited to this movie than Drew Casper’s scholarly dissertation.

  As promised in my previous coverage of Dial M for Murder, here is a more detailed look at one specific sequence in the film.  This is the sequence involving Tony Wendice’s conversation with Swan.  This portion of the film corresponds to Act I, Scene ii in Frederick Knott’s original play.  In Hitchcock’s movie, it is just over 22 minutes in length, comprising slightly more than 20% of the film’s total running time.  So how does Alfred Hitchcock manage to sustain interest and suspense,  for such a long period of time, with only 2 actors in one room?  There are approximately 121 editorial cuts in this 22 minute sequence, averaging one cut every 11 seconds.  This seems like a lot of editing for Alfred Hitchcock, but of course the specifics are much more interesting than mere mathematics.

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First off, Tony Wendice (played by Ray Milland) opens the door for Swan (Anthony Dawson), and they engage in introductory remarks.  Wendice pours Swan a drink.  This happens in one unbroken two-shot, lasting just under a minute.  Both actors then take a seat, facing each other.  Then Hitchcock goes into a very “standard” back and forth as Wendice and Swan converse.  The camera is on Wendice, then Swan, then back to Wendice, etc.  This back-and-forth cutting happens over 20 times in a couple of minutes.  The camera is usually trained on the actor who is speaking, but not always.  Occasionally the camera will cut to the listener, so we can read his reaction to what the other person is saying.  This is one way of breaking the monotony of the standard “two-shot conversation” sequence.   Then, just as the conversation is starting to take a turn, Hitchcock does something unique with the camera:

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As Wendice joins Swan on the sofa, the camera pans left so that we are behind the sofa, and the actors, with a lamp in between the two actors.  The camera has moved almost 90 degrees clockwise, and rather than cut to the new set-up, we observe the camera movement.  This is slightly off-putting.  Every time the viewer might start to get complacent, Hitchcock quickly changes the setup, keeping us off guard, and hopefully ensuring that we are paying attention to the very important dialogue.   After this dramatic camera movement, the scene continues in one uninterrupted take for about a 1 minute and 45 seconds.  During this time, Tony Wendice will get up and sit down twice, all without cutting.

DialM4Wendice ends up where he began, opposite Swan, and after an establishing two-shot Hitchcock goes back to the standard “back-and-forth”, cutting between the two men as Wendice slowly reels in Swan.   It is worth noting the Asian porcelain figurine behind Tony Wendice in this photo.   This figurine appears in various camera angles, and in a couple of instances appears to be staring directly at the camera, almost as if she is listening in on the conversation.   (I never noticed this detail myself, even after multiple viewings, but read about it on the wonderful site alfredhitchcockgeek.com.)  After almost 3 minutes of  rather standard back-and-forth cutting, Tony gets up and moves to the desk.

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Look at him sitting on the edge of the desk, arms crossed, both confident and comfortable.  He exudes power.  By this time he knows that he has Swan, and he is charming as ever.  Now when the camera cuts to Tony, it is on the opposite side of the room, near the fireplace.  Our view has moved 180 degrees from where we were when the two men sat on the sofa together, with the lamp between them.  Now the lamp is to the left of the frame, providing counterbalance to the figure of Wendice.  Tony Wendice will move back to the other side of the room, sitting now in the deep chair to the right of the one he sat in previously.

dialMtonychairThis is an interesting camera angle;  before we were looking at eye level, more or less.  But now the camera is in a lower position, looking up at Wendice, whose body fills the frame.  His position of strength has grown.  His tennis trophies can be seen just above his head on the mantel.  Now Tony stands up, and we are presented with an entirely new camera angle:

DialM5Now we can see bookshelves behind Tony.  These shelves are opposite the door.  Once again the camera has swung around the room.  We are seeing furnishings that we haven’t seen before.   But there is our familiar anchor, that green lamp, more or less dead center in the room.  We’ve seen it center frame, left of frame, and now it is right of frame, providing balance in the scene’s composition.   Tony walks back to the desk, to get Swan’s “carrot”, his money.  As he walks, we see the only part of the living room that we have not yet seen:

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There behind Tony’s head is a framed work of art, in between two bookshelves.  As he walks to the right, we see the second bookshelf, as well as some sort of china cabinet in the corner of the room.   Now we see the smaller, more ornate yellow lamp on the desk.  It enters this scene frame right.  Tony tosses the money across the room to Swan.  This is as far apart physically as they will ever get in this 22 minute sequence.  There is a gulf between them, as Swan appears to hesitate.

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We can now see another ornate piece of furniture, and another art print on the wall.   Alfred Hitchcock has made a complete circuit of the room, in a span of about 15 minutes, showing us every wall, every door, every unique furnishing.  Most viewers will make no notice of this, because they will be focused on the dialogue between Wendice and Swan, but it is the shifting camera angles that keep the dialogue interesting.   Some fans of this film have said that Hitchcock has done away with the “fourth wall” in this scene, through his constantly shifting camera.    This isn’t strictly true;  unlike the staged version of this play, Alfred Hitchcock has the luxury of shifting the location of the “fourth wall”, not only moving the players around the “fixed point” of the green lamp, but moving the audience as well!  But he is not done yet.

Swan moves to join Wendice at the desk, and at this point is is clear that they have reached an agreement.

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Look at the perfect framing of this shot.  The two men are not directly facing one another, but look at each other at a slightly oblique angle.  The telephone, which is to be the instrument of murder, is dead center frame, and directly between the men.  And the “new” lamp, which appears to be of Asian design as well, is now frame left.

Alfred Hitchcock leaves his best camera work for the end of the sequence.  All of a sudden, as Wendice begins to give the specifics of the murder to Swan, the camera cuts to a high overhead angle.

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I call this Hitchcock’s “God’s-eye view” shot.  He employed it in a majority of his films, usually only for a matter of seconds, and usually at a moment of extremely heightened tension.  (In Shadow of a Doubt, the camera pulls upward at the moment when niece Charlie discovers that her uncle’s gift of a ring came from a murdered woman.  In the remake of The Man Who Knew Too Much, the camera moves overhead when the McKennas are talking to their kidnapped child on the phone.)  Removing the viewer from the action in this way is startling, because unexpected.  It also makes the characters, and the viewers as well, feel more helpless.   Hitchcock uses this angle a little differently here.  We stay in this overhead shot for two-and-a-half minutes, as we observe the plotting of a murder.   So why did Hitchcock employ this high angle here?   Could it be as simple as the fact that he had already shown us the room from every other conceivable angle?  Possibly.  It also serves to ensure that the viewer is aware of the layout of the room, and exactly where everything is, so that when the murder comes we know exactly what is supposed to happen.

After this the camera returns to an eye-level two shot, and finally we fade to black over 22 minutes after the sequence began.  The success of the film hangs on this sequence;  not only is Wendice hooking Swan, but Hitchcock is hooking the audience, and his innovative camera movements make this sequence wonderful, and a prime example of his masterful directorial eye.

 

 

 

DIAL M FOR MURDER (1954) – Warner Bros. – Rating:  ★★★★

Color – 105 minutes – 1.33:1 aspect ratio

Principal cast:  Ray Milland (Tony Wendice), Grace Kelly (Margot Wendice), Robert Cummings (Mark Halliday), Anthony Dawson (Lesgate/Swann), John Williams (Chief Inspector Hubbard).

Produced by Alfred Hitchcock

Written by Frederick Knott, based on his play

Director of Photography:  Robert Burks

Film Editing:  Rudi Fehr

Original Score:  Dmitri Tiomkin

We open on an idyllic marriage scene, in a small but well-furnished London flat, the happy wedded couple locked in a kiss.  Cut to the same married couple, eating breakfast.  The wife is reading a small notice in the newspaper, about an American author due to arrive in England on the Queen Mary that day.  Cut to attractive man disembarking from the Queen Mary.  Cut to this attractive man, locked in a kiss with the wife, in the same London flat we just witnessed a moment ago!  Alfred Hitchcock, who got his start in silent films, and never lost his flair for visual storytelling, has given us a complete set-up to the story in two minutes, with no dialogue.

The wife, Margot Wendice, and the author, Mark Halliday, had a fling the previous year, when Mark was last in London, and Margot’s marriage was in turmoil.  Now, Margot tells Mark, her husband Tony is a changed man.  She won’t leave him, because he has become the perfect husband.  She also tells Mark that she destroyed all of the letters he wrote to her, except one, which was stolen from her purse.  After the theft she recieved two anonymous letters of blackmail, and even after she paid the requested sum she never recieved the letter back.

At this moment Margot’s husband Tony returns to the flat, and his wife introduces Mark as a friend of hers.  Tony sends the couple off for an evening on the town, saying he is too busy with work to accompany them.  He then makes a phone call summoning a man to the flat, on the pretext of buying a used car.  This man, named Swann, was an old college schoolmate of Tony’s, and Tony uses a very subtle and charming method of blackmail to convince Swann to murder his wife, for the sum of one thousand pounds.  It turns out that Tony knew about the affair all along.  He is the one who stole the letter from his wife’s handbag, and he wishes to dispense with her and inherit her considerable fortune.

The murder is to take place the following evening,  when Tony and Mark will be at a stag party, and Margot will be home alone.  Tony will hide a key outside the flat so Swann can let himself in, then at an arranged time Tony will make a phone call to the flat, summoning Margot from bed to the phone, where Swann will finish her off.  There is a very suspenseful build-up to the moment of the phone call, and as it happens Margot is able to grab a pair of scissors from the desk and stab Swann in the back.  He falls to the floor, impaling himself and dying instantly.  Margot summons Tony home, who, instead of despairing at seeing his plans foiled, sends Margot to bed, then rather adroitly manipulates the scene so it will appear that Margot wilfully murdered Swann.

Now Chief Inspector Hubbard (played by the always solid character actor John Williams) arrives on the scene.  It is established rather quickly that Margot is indeed convicted of murder and sentenced to death.  It seems that Tony’s plan will succeed, but Inspector Hubbard is a very cool character, and knows more than he lets on.  The climax of the plot hinges on something as simple as a key, with Hubbard playing a hunch that turns out to be correct.

Why does this film work as well as it does?  It is 80% dialogue, 20% action.  It takes place all in one small flat.  It is considered a “minor work” of Hitchcock, and justifiably so.  And yet it is thoroughly entertaining.  For me it is Ray Milland that saves the day.  The wrong actor in the Tony Wendice role would send the film irrevocably off the rails.

Performance:  The performances are all solid, with the exception of Robert Cummings, who seems a little soft in his role as the boyfriend, and fails to generate any sympathy.  Ray Milland really carries the movie, as yet another sympathetic Hitchcock villain, charming from his first scene to his last.  John Williams is fantastic as Inspector Hubbard.  (Film lovers may recognize Williams as Audrey Hepburn’s chauffeur father in the movie Sabrina, also released in 1954.)  Both John Williams and Anthony Dawson reprised their roles from the original New York stage production of the play.  And then there’s Grace.  Has any woman ever looked as gorgeous on screen as Grace Kelly?   Although she had an other-wordly beauty, she always created characters that female moviegoers could identify with.

Hitchcock in 3D?  Yes, this film was initially released in the 3D format.  Alfred Hitchcock did not wish to use  3D in the way it was typically employed at that time, with lots of very obvious moments of long narrow objects poking and jabbing at the audience.  He only employed that twice in the film, once with scissors and once with a key.  Rather, in anticipating the way 3D is used today, he framed the scene with objects along the proscenium, like a lamp, or a bottle, that gave added depth to the scene.  The film has not been available to view in 3D since a brief theatrical re-release in 1982, but is just as visually compelling in the 2D format.

Source material:  Frederick Knott adapted the screenplay from his own successful stage play, and changed very little.  All of the major plot elements are in place in the play, and many lines of dialogue are lifted directly from it as well.

Hitchcock moment:  The scene in which Tony Wendice outlines his plan for murder to his old schoolmate Swann would be enough to derail most movies, but here it works brilliantly.  For 22 minutes of screentime (that’s 1/5 of the entire movie!), we have two characters in one small room, talking.  The camera does move, as do the characters, and the staging and filming are perfect.  But the scene is entirely dialogue driven, and not only the dialogue but the acting could not be better.  Ray Milland does a vast majority of the talking, and he is completely charming, winning over not only Swann but the audience as well.  If Milland does not succeed in doing so, the rest of the movie does not work.  This scene alone makes the film worth watching. (I will attempt to do a deconstruction of this scene, as a separate entry, at a later time.)

Keep it closed:  In the Truffaut interviews, Hitchcock talked about directors adapting movies from stage plays, and how they would frequently “open up” the play, taking it beyond its original setting.  He felt this was a big mistake; it was the original story and setting that made the play successful, so he felt one should not mess with success, but rather keep it in its original setting.

Guilty as charged:  Since the theme of guilt and innocence seems to be the most prominent throughout Hitchcock’s works, it may be worthwhile to look at how the concept applies to the characters in this film.  Tony Wendice is guilty from a criminal respect; he first plots to murder his wife, then works to have her hanged for murder.  Yet there are many moments in the film when the audience sympathizes with Tony.  Certainly Margot and Mark are guilty of infidelity, and while this is not an act deserving of murder, it certainly colors the way that viewers feel about them as characters.  Mark is never a sympathetic character.  Lesgate, or Swann, is also criminally guilty.  It would appear he has had the makings of a thief for many years, and he rather quickly agrees to commit a murder for a fairly small sum.  Many would argue he gets what he deserves.  Yet once again, Hitchcock manipulates the audience in such a way that we feel a bit sorry for Lesgate, who is really just a pawn in Tony Wendice’s grand plan.  Even Inspector Hubbard carries a guilt, for he manipulates the Wendices as well, in order to prove his theories.  So on a psychological level, there are no innocent people in this film.  And Hitchcock, primarily through the story and brilliant cutting, has the audience shifting its sympathies almost from moment to moment.

Recurring players:  Robert Cummings had earlier starred (in much more convincing fashion) in Hitchcock’s Saboteur.  John Williams had appeared in 1947’s The Paradine Case, and would later become the go-to guy for the Alfred Hitchcock Presents television show, appearing in numerous episodes.  Harold Miller was also an extra in Saboteur.  Sam Harris (man in phone booth) was also an extra in Foreign Correspondent, Mr. and Mrs. Smith, Saboteur  and The Paradine Case.  Forbes Murray, (the judge) would later appear as an extra in Vertigo.   Grace Kelly would go on to star in the unforgettable Rear Window, and she would have the pleasure of sharing the screen again with John Williams in To Catch A Thief.   And let’s not forget Bess Flowers, “the Queen of the Hollywood extras.”  She appeared (primarily as an extra) in over 700 films, far and away the most of anyone in movie history.  In addition to being “woman departing ship” in this movie, she was also an extra in Mr. and Mrs. Smith, Notorious, Rear Window, To Catch a Thief, The Man Who Knew Too Much (1956), Vertigo and North by Northwest.  

Legacy:  This movie would be remade twice for television, in rather forgettable versions.  It was also updated for the big screen in 1998’s A Perfect Murder, directed by Andrew Davis and starring Michael Douglas, Gwyneth Paltrow, and Viggo Mortensen.  This version has the husband (Douglas) convincing his wife’s lover to commit the murder for him.  It does not share too much in common with the original film, and while the plot twists are somewhat clever and original, it does not have the dramatic intensity of the earlier film.

Where’s Hitch?  How would Alfred Hitchcock insert a cameo into a film which takes place almost exclusively in one room, with a very small cast? No problem!  In the school reunion photo hanging on the wall, in which we see Tony Wendice and Swann sitting side-by-side, there is a familiar face on the near side of the table, turning to look at the camera.   This very clever and effective cameo comes at about 13:11 into the film.

What Hitch said:  Alfred Hitchcock was very dismissive of this film, saying that he was just “coasting, playing it safe.”  On the surface this is understandable as there really isn’t much to this film.  And yet it works; for a dialogue-driven movie in an enclosed space,  it is completely compelling, and entertaining.  All Hitchcock would ultimately say was:  “I just did my job, using cinematic means to narrate a story taken from a  stage play.  All of the action in Dial M For Murder  takes place in a living room, but that doesn’t matter.  I could just as well have shot the whole film in a telephone booth.”

Definitive edition:    Warner Brothers released a 3D blu-ray version of this movie in 2012, and it is well worth the extra expense to pick it up.  Even if you do not have a 3D TV, you can still play the movie in 2D.  The 2004 DVD version was a decent print, but it was also in standard format.  Apparently it was easier (and cheaper) to project 3D movies in the standard screen format.  I always assumed that was the aspect ration in which Hitchcock shot the film, so imagine my surprise when the blu-ray began playing and the movie was in the 1.85:1 aspect ratio!   It is like watching an entirely different movie.  The widescreen, the colors, the depth of focus are all quite good.  Many techies have complained about the quality of this transfer, but I can assure you that Dial M has never looked this good on home video.   Not even close.   Why on earth did Warner release the DVD in standard format?  At least they have corrected that mistake.  The blu-ray also includes a ho-hum 21 minute-documentary, not so much a making-of as it is contemporaries lavishing praise on the movie.  You hear from Peter Bogdanovich, M. Night Shyamalan and others.  Also included is the theatrical trailer (also in widescreen.)

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