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1954 Films, Alfred Hitchcock, Anthony Dawson, Grace Kelly, John Williams, Patrick Allen, Ray Milland, Robert Cummings, Thriller

Dial M for Murder-1954

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Dial M for Murder-1954

Director Alfred Hitchcock

Starring Ray Milland, Grace Kelly

Scott’s Review #995

Reviewed February 28, 2020

Grade: A

A fabulous offering by stylistic director Alfred Hitchcock, Dial M for Murder (1954) arrived on the scene when the cinematic genius was hitting his stride in the United States after finding success in England.

The late 1950s and early 1960s revealed his best offerings, but this is no slouch. The film mixes thrills, double-cross, and murder in a way only Hitchcock can- perfectly.

It is fast-paced and shot almost like a play, using primarily one set only. Based on the Broadway hit, which came first.

An English former tennis champion, Tony Wendice (Ray Milland) hatches a scheme to kill his wealthy but unfaithful wife Margot (Grace Kelly), who’s embroiled in a liaison with handsome writer Mark Halliday (Robert Cummings).

When Tony’s plans go awry, he attempts the second act of deceit, but events spin out of control when Margot, Mark, and a sly Scotland Yard inspector (John Williams) begin putting the pieces together.

The film is a popular one by way of the story because it is very conventional and pure Hitchcock. The viewer immediately knows who the killer is and his motivations- the hunger for wealth and the jealousy of another man.

The most fun is when hiccups begin to form, and Tony must fly by the seat of his pants to cover his tracks and think of another way to seal Margot’s fate. If he cannot murder her why can’t he send her to prison?

Milland is perfect in the role with eye shifts and head turns.

Set pieces like a key and a handbag come into play giving the film zest. When it is revealed that there are multiple keys the plot gets juicier and juicier. The flat where Tony and Margot reside is beautifully designed with state-of-the-art furniture and decorations making the set a character.

Lavish curtains and French doors are utilized during the late-night attempted murder scene, which is thrilling to witness, leaving the viewer with heart palpitations.

The brilliance is that the viewer does not intend to hate Tony, at least this viewer didn’t. While he is not likable his motivations can be somewhat understood. On the flip side, Margot and Mark are not the heroes and their shenanigans bite them.

I dare say that Grace Kelly has had better roles in Hitchcock films. To Catch a Thief (1955) immediately comes to mind. Margot is not a particularly strong character and is quite weak.

Dial M for Murder has commonalities with two other Hitchcock gems. As with Strangers on a Train (1951), a tennis star is utilized as a major character and twisted strangulation is the game. Also, a tit-for-tat technique is used.

Like the underappreciated Rope (1948), the one-take sequence style and a film that could be a stage play are traits that are noticed. Those films are good ones to be in the same company with.

The final thirty minutes travel by at break-neck speed as we wonder what will happen next. The cat-and-mouse activities are delightful and remind us that the film is quite basic and stripped down compared to his later films.

One set, good actors, and a full-throttle story do wonders to satisfy a fan. The camera movements and techniques are key to the entire film as a shot here or there is timed with flawless precision. Hitchcock used 3-D filming, inventive for this time.

Perhaps not as famous as Hitchcock delights like Psycho (1960), Vertigo (1958), or North by Northwest (1959), Dial M for Murder (1954) serves as much more than a warm-up act to those classics.

With a fast pace, twists and turns, and good British sensibilities, the setting of a stylish London flat and good sophistication make this film one to remember.

1960 Films, Anthony Dawson, David Miller, Doris Day, John Gavin, John Williams, Myrna Loy, Rex Harrison, Roddy McDowall, Thriller

Midnight Lace-1960

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Midnight Lace-1960

Director David Miller

Starring Doris Day, Rex Harrison

Scott’s Review #909

Reviewed June 13, 2019

Grade: B+

Midnight Lace (1960) is a straightforward psychological thriller made in cinematic history when the genre increased in popularity.

The film was influenced by the Alfred Hitchcock craze which was front and center at this time, and a robust departure for its lead, Doris Day, who until this time was mostly nestled securely in the romantic comedy domain.

The film is a good watch and a challenging role for Day, who proves she has the acting chops to carry the film.

Day portrays Kit, an American heiress, newly married to British financier Tony (Rex Harrison), residing together in London. When she is terrorized by an odd voice in a London park one misty night, her panic is dismissed as rubbish, and pranksters having their way with her.

When the threats return and escalate with telephone calls, Tony alerts the authorities who question whether Kit may be imagining things or creating a panic to gain attention from her husband.

Tony, in turn, begins to ask the same questions.

Day, an American sweetheart and forever good girl was brave to tackle a role that was left of center for her. Despite her fine acting and impressive range during scenes of peril, Doris Day is still Doris Day, and it is tough to shake the image of her playing herself.

Attractive, Day is not the sexpot type, so a few scenes of her being flirty by attempting to seduce Tony with sexy nighties do not work so well. Day has never looked lovelier than she does in this picture.

The plot rolls along with wonderful glossy production values and I never found myself tuning out or wondering when the film would end.

The drama heightens minute by minute turning into a whodunit while the film wisely never disqualifies the question of whether Kit could be staging the shenanigans herself.

Did she fall into a bus or was she pushed? Why did she hire someone to call her? Is the menacing voice disguised? The questions become more frequent as the film progresses which is what good thrillers should do.

I figured out only half of the big reveal, but the other half caught me off guard and the finale was climactic and satisfying.

The film belongs to Day, but the additions of Harrison and the legendary Myrna Loy add class and flavor to a film that could have been dismissed as only cliched in lesser hands.

Harrison is effective as the concerned but stoic husband and the audience is made to wonder if Tony has something to do with Kit’s stalking or if he is a caring man.

Does the subplot of a discovered embezzler in Tony’s company have anything to do with it? If so, how are the stories connected?

Handsome John Gavin, a Rock Hudson type who was made famous for Psycho (1960) is a welcome addition as contractor Brian, the man showing up at the right time to save Kit making him a prime suspect.

Loy plays Kit’s Aunt Bea, who comes to town for a visit; the part is nothing special but it’s lovely to see the actress in whatever role she tackles.

Finally, Malcolm Stanley (Roddy McDowell) adds drama as a money-hungry man and son of Kit’s maid.

Characters are added to the story as potential suspects.

The viewer is treated to their share of exterior shots of London providing the film with enough British flavor to almost forget that Day is American. With the additions of Scotland Yard and an Inspector, the British culture is firmly placed, adding a wonderful British element.

Tony and Kit are rich, so their lavish home and exclusive neighborhood are finely placed on display.

The title of the film represented during a cute scene when Kit seductively holds up a sexy outfit she has purchased for Tony, seems straight out of the 1980s slick television movie thriller genre and primed for the Lifetime television network.

This is not a criticism because the title works well and holds tantalizing darkness.

Midnight Lace (1960) is a nearly forgotten film that is a fine watch and a nice tribute to the talents of Doris Day, who makes the film her own and is the main reason to watch it.

Though she does not sing or play the girl next door, she does turn in an above-average performance, showing her range as an actress. The rest of the film’s trimmings, especially the locale and the supporting actors are beneficial to the viewing pleasure the film possesses.

Oscar Nominations: Best Costume Design, Color

1955 Films, Alfred Hitchcock, Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Thriller

To Catch A Thief-1955

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To Catch A Thief-1955

Director Alfred Hitchcock

Starring Cary Grant, Grace Kelly

Scott’s Review #455

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Reviewed July 24, 2016

Grade: A-

Cary Grant starred in five Alfred Hitchcock films in his day and 1955’s To Catch A Thief is right smack in the middle of Hitchcock’s prime period of masterful pictures.

Grace Kelly (her third and final Hitchcock film) co-stars making this film a marquee treat as both actors were top-notch in their heyday and had much chemistry in this film.

While not my all-time favorite of Hitchcock films, To Catch a Thief has mystery, a whodunit, and some of the most gorgeous cinematography of the French Riviera. The breathtaking surroundings are my favorite part of this film.

Grant plays John Robie, aka. “The Cat”, an infamous jewel thief who has now gone clean. He spends his days quietly atop the French Riviera growing grapes and flowers and keeping out of trouble.

When a new jewel thief begins to strike wealthy tourists, Robie is immediately under suspicion by the police. He is forced to prove his innocence by catching the real thief in the act as the thief uses the same style to steal as Robie once did.

Amid this drama, Robie meets the beautiful heiress Frances (Kelly) and her interfering mother Jessie Stevens (Jessie Royce Landis), leading to romance.

Although Grant could be old enough to be Kelly’s father, we immediately accept Robie and Frances as the perfect couple- she is sophisticated, stylish, and rich, and he equally with a bad-boy edge.

To Catch A Thief has a strong romantic element and a glamorous and wealthy tone. After all, the subject matter at hand- jewels- equates to lavish set decorations, women dripping in expensive jewelry, and a posh resort among the gorgeous French waters.

The supporting characters are interesting too. A triangle emerges as Frances plays catty with a young girl, Danielle, eager for Robie’s affection. Danielle, much plainer looking than Frances, though no shrinking violet, holds her own in a match of wits with Frances as they bathe in the water one afternoon.

Frances’s mother Jessie, is wonderful comic relief as she attempts to push Robie and Frances together- always searching for a handsome suitor for her daughter.

Finally, insurance man H.H. Hughson also contributes to the comic relief as he begrudgingly provides Robie with a list of wealthy visitors with jewels.

In their playfully awkward lunch- delicious quiche is the meal of the day- at Robie’s place, Robie proves how Hughson himself is a thief of sorts to accomplish what he needs to get from Hughson.

Despite all of the positive notes, something about To Catch A Thief that prevents it from being among my all-time favorite Hitchcock films. Perhaps it is because I never doubted Robie’s innocence and the caper- if dissected- is a bit silly.

I get the sense that the audience is supposed to question whether Robie is truly reformed or playing a game and is back to his dirty deeds, but I wasn’t fooled.

This is a small gripe and To Catch A Thief is a wonderful film.

The way the film is shot is almost like being on the French Riviera. Countless coastal shots of the skyline will amaze the viewer with breathtaking awe of how gorgeous the French country is and how romantic and wonderful it is.

This is my favorite part of To Catch A Thief.

The visuals of the film rival the story as the costumes created by costume designer and Hitchcock mainstay, Edith Head, are simply lovely. And who can forget the costume ball near the conclusion?

Though the story might be the weakest and lightest element of the story,  who cares? The visuals more than make up for any of that as To Catch A Thief will please loyal fans of Hitchcock’s vast catalog.

Oscar Nominations: 1 win-Best Art Direction, Color, Best Cinematography, Color (won), Best Costume Design, Color