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Dial M for Murder (1954)
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All reviews for Dial M for Murder
Dial M for Murder
by
krishkmenon
in
krishkmenon Blog
loved it.
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"Another feather in Hitchcocks cap. The situation setup is as usual from the master superb. The cast ideal. Who can forget the poise, beauty and charm of Grace Kelly, the scheming machinations of the suave Ray Milland which goes awry and the debonair Robert Cummings. Hitchcocks camera work using the ordinary telephone as the suspense builder is unique. The film though lenghty at times is different from the masters usual offerings. Unfortunately it is not in circulation. A must see for fans of the master. By Krishna Kumar Menon Chennai(Madras), India "
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Dial M for Murder on Reel 13
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jjgittes
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jjgittes Blog
liked it.
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"I only wrote down two notes during my watching of DIAL M FOR MURDER last month on Reel 13: "They cut right to the chase" and "Why does Hitchcock love tennis players?" The former is a reference to the efficiency with which the film begins (efficiency is one of many Hitchcock trademark qualities) – the film opens with Grace Kelly kissing her American lover. They talk briefly, Ray Milland (a retired tennis player in this film) enters and the murder plot begins. No time wasted. The second note refers to the random abundance of tennis players in Hitchcock's milieu (STRANGERS ON A TRAIN, which aired on Reel 13 in May, is another notable example). It's not really that relevant, but it struck me as interesting.It's not these notes, in particular, that strike me as much as the infinitesimal amount of them. I usually fill a whole page worth of notes when watching any Reel 13 film, Classic or Indie. I think there are three reasons why DIAL M FOR MURDER didn't motivate me to put pen to p ... "
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AFI's 10 Top 10: Mystery
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ShaunHuston
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ShaunHuston filmblog
hasn't rated it.
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"The mystery list is another one that seems poorly conceived. Unlike animation, “mystery” may be a genre, but the way it is defined and applied in the AFI list leads to a muddled selection of films.The AFI defines mystery as “a genre that revolves around the solution of a crime”. I'm not convinced that that adequately describes the films on the list, or, even if it does, it is absurdly reductive. Most ironically, the definition seems least appropriate when applied to the list's top selection, Vertigo (1958), which does not actually revolve around the solution of a crime at all, but a domestic mystery, and is really about Scottie's (Jimmy Stewart) inner-demons and obsessions in any event. Similar questions can be raised about other movies on this Top 10. For example, the second film on the list, Chinatown (1974), certainly starts with a mysterious murder, but part of the point of the film is that some “crimes” aren't illegal at all, and may even be facilitated by laws. The plot of T ... "
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