Marnie Edgar is a habitual liar and a thief who gets jobs as a secretary and after a few months robs the firms in question, usually of several thousand dollars. When she gets a job at Rutland’s, she also catches the eye of the handsome owner, Mark Rutland. He prevents her from stealing and running off, as is her usual pattern, but also forces her to marry him. Their honeymoon is a disaster and she cannot stand to have a man touch her and on their return home, Mark has a private detective look into her past. When he has the details of what happened in her childhood to make her what she is, he arranges a confrontation with her mother realizing that reliving the terrible events that occurred in her childhood and bringing out those repressed memories is the only way to save her. Continue reading
about the production
The film began production as a silent film. To cash in on the new found popularity of talkies the film’s producers, British International Pictures, gave Hitchcock the go-ahead to film a portion of the movie in sound. Hitchcock thought the idea absurd and surreptitiously filmed almost the entire feature in sound along with a silent version for theatres not yet equipped for talking pictures.
Lead actress Anny Ondra was raised in Prague and had a heavy Polish accent that was felt unsuitable for the film. Sound was in its infancy at the time and it was impossible to post dub Anny’s voice. Rather than replace Anny and re-shoot her portions of the film actress Joan Barry was hired to actually speak the dialogue while Anny lip-synched them for the film. This makes Ondra’s performance seem slightly awkward. Continue reading
An actress in a travelling theatre group is murdered and Diana Baring, another member of the group is found suffering from amnesia standing by the body. Diana is tried and convicted of the murder, but Sir John Menier a famous actor on the jury is convinced of her innocence. Sir John sets out to find the real murderer before Diana’s death sentence is carried out. Continue reading
A double agent has to contend with enemies on both sides of the political fence as well as the woman he loves in this hriller directed by Alfred Hitchcock. Prof. Michael Armstrong (Paul Newman) is an gifted American physicist who, at the height of the Cold War, decides to defect to East Germany. To his surprise, his fiancée, fellow scientist Sarah Sherman (Julie Andrews) follows him, and she soon discovers Armstrong is no traitor, but acting as a secret undercover agent. As Armstrong attempts to ingratiate himself with political and scientific factions in East Germany, Gromek (Wolfgang Kieling) becomes his guide, though Armstrong is aware he’s a government agent assign. Continue reading
Rope (1948) is a film written by Hume Cronyn and Arthur Laurents, produced and directed by Alfred Hitchcock, and starring James Stewart, John Dall and Farley Granger. It is the first of Hitchcock’s Technicolor films, and is notable for taking place in real time and being edited so as to appear as a single continuous shot through the use of long takes. Continue reading
A young Scottish RAF gunner is debriefed by French officials about his escape from occupied territory, and in particular one person who may or may not have been a German agent. Continue reading
M stands for murder and also for mindfuck in this, one of Hitchcock’s best films. Based on a stage play by Frederick Knott (whose credits also include another great thriller, Wait Until Dark), Dial M For Murder includes one of the most intricate plots of any murder mystery as well as maximum amounts of Hitchcock’s trademark suspense.
A quietly evil Ray Milland plays a cold fish who plots to kill his wife (Grace Kelly) for her insurance money. As he explains at the beginning of the movie, he also wants to commit the “perfect murder” – i.e. one that is complicated and dangerous, yet foolproof and never suspected. John Williams is the Scotland Yard inspector who may be onto him.
It doesn’t matter that the movie starts with a lengthy exposition… or even that the identity of the villain is revealed in the first twenty minutes. Dial M will pull you to the edge of whatever you’re sitting on and keep you there. (If you don’t pay attention, you won’t be able to follow all the twists and turns of the plot.) Hitchcock’s direction was never better. In fact, the film is a good model to follow for mystery directors; Hitchcock draws exactly the right amount of attention (but not too much) to the subtle actions and details that are crucial to the murder plot.
Dial M For Murder is not always regarded as one of Hitch’s best. Critics seem to prefer the more theatrical, psychological melodramas to the brainy whodunits. But pay no attention – this film is definitely a classic. Continue reading