This was not my first time viewing Dial ‘M’ for Murder. This is another Classic film that I viewed in my high school English class and enjoyed it very much. Dial ‘M’ for Murder’s main plot was placed in London, where the wealthy Margot Mary Wendice, played by Grace Kelly, had a brief love affair with the American writer Mark Halliday (Robert Cummings) one year before the present plot while her husband and professional tennis player Tony Wendice (Ray Milland) was traveling in a tennis tournament. Tony quits playing tennis to dedicate his life to his wife and finds a regular job after he found out about the affair. He then blackmails an old college buddy into murdering his wife, when things go south.
Like most Hitchcock's films, Dial ‘M’ for Murder was an adaptation of another art-form, a popular play by Frederick Knott. As Knott was also the writer of the screenplay, the movie remains extremely faithful to the play, although of course, not without its differences. Knott's script was wonderfully constructed and the dialog was witty and simply captivating, with many twists and turns that added to the complex plot and kept it from being boring. This was pure entertainment at its best. As usual, Hitchcock masterfully directs this movie and has the right actors to do the job. Ray Milland and Grace Kelly deliver very good performances and surprisingly enough, Robert Cummings does a rather good job in his role of Mark Halliday. People tend to forget Grace Kelly starred in Dial ‘M’ for Murder, seeing as 1954 was a big year for Grace Kelly. She played in Hitchcock's classic "Rear Window" and she won an Oscar for best actress in "The Country Girl". Even though she is not known for her role in this film, she brought a unique quality to this ...
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...written from a tricks-yet-capable script that never got too deep. Alfred Hitchcock manipulates and enthralls his audience like the master that he is. Each scene has a sense of direction, great pacing, and is staged realistically. The plot entirely revolves around the latchkey. It is the clue that literally unlocks the mystery. It sends the message that even the perfect crime can have one minor, overlooked detail that leads to the complete unraveling of the entire plan. Overall, I really enjoyed this film and I would recommend that more people watch it. The acting was superb, the storyline riveting and the characters were very intriguing. I honestly cannot think of any other film that works this well with only one set being used. The movie was great and the mystery behind it kept me interested and I would like to see this movie in 3D like it was originally presented.
Rear Window effectively demonstrates Hitchcock’s strong qualities as an auteur. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions of how to make the movie he is providing his own creative adjustments.
Murder at the Margin is a murder mystery involving various economic concepts. The story takes place in Cinnamon Bay Plantation on the Virgin Island of St. John. It is about Professor Henry Spearman, an economist from Harvard. Spearman organizes an investigation of his own using economic laws to solve the case.
Alfred Hitchcock’s Vertigo is a thrilling film filled with mystery and suspense. However, Hitchcock left many unsolved issues at the end of this film. In contrast, when comparing Vertigo to more recent films of similar genre’, mysteries are usually always solved and thoroughly explained by the end of the film. Ironically, Hitchcock’s failure to explain everything to the audience in Vertigo is one of the film’s best attributes. This lack of knowledge allows the viewer to use their own imagination and speculate as to what might or might not have become of certain characters.
As the paradigm in which this curiosity is exposed inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window. The viewer sees what Jeff (the protagonist) observes, has the sensation of being the protagonist, observing through his window.
In the shot before the sequence, we see the crofter asking his wife what has happened to his coat, as it had his hymnbook in the pocket. She, offscreen, tells him that she gave the coat to Hannay. The crofter angrily walks offscreen toward her, and we hear her terrified scream - this scream suddenly becomes the sheriff’s offscreen laughter, as the next shot is of the hymnbook with the bullet hole in it. From the beginning of the sequence, Hitchcock transmits the feeling that there is something not quite right about the sheriff. As the scene in the police station begins, Hannay has just finished telling the sheriff that he is the one that the papers have been describing as a murderer, but that he is innocent of the crime. The sheriff laughs along with Hannay and seems to believe him, but as soon as the sheriff’s colleagues come in to the room, we learn that the sheriff has been just humoring him and thinks Hannay is a murderer. Hannay is forced to escape. The entire scene, through the lighting, angles, ...
This was no news to Hitchcock's fans. In a 1947 press conference the great director laid out his philosophy of the mystery-horror genre: "I am to provide the public with beneficial shocks. Civilization has become so protective that we're no longer able to get our goose bumps instinctively. The only way to remove the numbness and revive our moral equilibrium is to use artificial means to bring about the shock. The best way to achieve that, it seems to me, is through a movie."
Imagine being caught in a murder investigation when all you wanted to do was write one? The book I read was Dial Em for Murder by Marni Bates. Dial Em for Murder is about a teenage girl who was working on her novel in a coffee shop, when a strange man literally died on top of her, because he was protecting her from a murderer. Emmy is dragged into a murder mystery much more horrifying than she could ever write. Before the man died, he gave her a Slate, which is a very expensive piece of technology. She can use it to help her find her father, who she has never met. She travels to Emptor Academy, or as she called it, “The rich kid’s school” where she could be safe from the murderer and focus on the Slate and finding her father. But it all changes
This left Hitchcock films as some of her mother’s favorites. Pemberton, went to a Hitchcock festival as an adult, this time watching Rear Window, which she had not seen since she was a child with an objective examination, she found a scene that would shift both her and her mother’s perspective of this movie. As Jimmy Stewart’s character, Jefferies, realizes he is in danger, telephones his friend Wendell Corey, who was not at home, but he spoke with the baby-sitter who did not appear on screen, but was portrayed in a voice that would convey imagery of a “familiar black image.” Asking the inspiration for this essay “Do he have your number, Mr.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
I personally thought this was a great film, although initially I thought it might be boring. Once I got past the older production quality and immersed myself into the story, I enjoyed it. I can see why this film is a cinematic classic, especially with the memorable dialogue. My favorite lines came from Carr, the floor walker. He seemed to know his job like the back of his hand. “Any man loses his spoon; he spends the night in the box”.
Although it is widely believed that this genre may be quite boring, the film is really absorbing since its beginning until the end. Besides this, it could be said that the screenplay is unexpected. That is to say, it is not like American films when thieves' plan works perfectly. In this case, their plan becomes more sophisticated due to factors such as weather conditions,
Hitchcock has characteristics as an auteur that is apparent in most of his films, as well as this one.
“Vertigo” is one of Alfred Hitchcock’s most iconic films. I began watching the film with very high expectations, because I had heard so many great reviews from people who had seen it, but I also watched it from the perspective of a millennial who is used to action and comedy in movies. After watching the movie, I can give my honest opinion on it, and it surprised even me.
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.