Film Analysis: Dial M For Murder

Throughout Hitchcock’s 1954 movie rendition of Frederick Knott’s play, Dial M for Murder, the audience is subjected to a “romping plot...where the action is constricted to one room” (Barnes). Even though everything, including the murder and criminal investigation, happens in the room, Hitchcock employs a variety of techniques such as blocking, camera angles, and prop making in order to add a unique twist to a seemingly straightforward murder. This twisted and almost confusing plot ultimately helps to keep the audience absorbed in the film. Hitchcock’s unique costuming decisions, especially with characters with costumes that are contrasted with different colors, add to the dimensions of the plot. This increase in complexity ultimately allows

On the surface, Hitchcock’s wardrobe choice indicates that Margot and Tony should have a loving and caring relationship. However, when the audience compares the suits and dresses of Margot’s marriage and her affair, it is hard not to imagine the affair to be more intimate and passionate due to the presence of red. When looking at Margot’s fire-red dress, the audience notices that Margot is much happier with Mark than she is with Tony. This added meaning helps the viewer to establish the source of Tony’s anger, which eventually facilitates the murder. Even though the Margot’s wardrobe appears to be somewhat unplanned later in the movie, Hitchcock confirms that he deliberately chose every piece. In an interview with Francois Truffaut, Hitchcock stated “We did an interesting color experiment with [Margot’s] clothing. I dressed her in very gay and bright color at the beginning of the picture, and as the plot thickened, her clothes became gradually more somber” (Stripek). Since Margot’s clothes get darker as the murder plot thickens and she is eventually placed on trial, the viewer is forced to contemplate her personal