Dial M for Murder

The first meeting between Grace Kelly and Alfred Hitchcock is the essence of the concept of a "Hitchcock Blonde." Everything he tried long before the war with Ondráková, he just repeats and varies here. The key "blonde in a negligee fighting for her life" scene is almost identical. Throw in a bit of investigation, a would-be perfect crime, an uncle from Scotland Yard, and now you’ve got everything. It’s nothing new under the sun. It's even the same in the sense that Hitchcock also compulsorily made Blackmail in a sound version, and Dial M for Murder in a 3D version. (06/10/2019)

A very entertaining thriller - cracks and fissures begin to appear in the perfect murder plan, and the main negative character (as strange as it sounds, Tony Wendice, played by Ray Milland, is just that) patches up as many of them as he can with as much effort and nonchalance as he can. Hitchcock obviously enjoyed it and that's why we enjoy it, too, and Grace Kelly is just so beautiful... (28/05/2016)

This is where Hitchcock was better than anyone. With a minimum of technical means, a simple premise and a handful of excellent actors, he managed to produce a masterful psychological thriller that maintains its powerful pace, stemming from the opening conversation, without any directorial or screenwriting stumbles. And even though there is only one way the film can end, Hitch manages to do the impossible: engrossing the viewer to such an extent that they don't even think about the upcoming finale until it arrives. Who would ever want such beauty to end? :)) 95% (27/05/2014)

A precisely directed studio conversation crime film, exactly in the spirit of Hitchcock's work. A meticulous selection of actors, lighting, editing - simply professionalism at every turn. However, from today's perspective, it is too static, as modern filmmaking simply looks different and uses different means. Now it rather resembles a television production, albeit of the highest quality. Overall impression: 75%. (21/12/2009)

Until the verdict, it's brilliantly crafted, believable, but it should have ended there. The rest is not exactly bad, but you can hear too much of the rustling of the screenplay in it. Big coincidences lurk everywhere, and even the characters are puppet-like. Which Milland's show-stopping, charismatic villain didn't deserve. (08/08/2010)