Dial M for Murder (1954)

And I thought telemarketers were bad.

Intro.

As I've mentioned before, I love Hitchcock.  The more I watch his films, the greater I can appreciate his great camerawork and attention to detail.  So when I noticed Dial M for Murder in the television listings recently, I had to catch up on one of his films I hadn't seen before.  And this time I actually saw Hitchcock hidden in the film!

Overview 

At the beginning, Tony (Ray Milland) and Margot (Grace Kelly) appear to be a perfectly happy married couple.  That is, until we realize that Margot's returning friend Mark (Robert Cummings) was more than just her friend.  Margot tells Mark that although their affair ended a year ago, Tony's been acting strangely.  What's worse is that the only letter she kept from Mark was stolen awhile ago, and although she paid the mysterious blackmailer, she never received the letter back.  She and Mark go out for the evening, as Tony says he has to stay home and get work done.  His "work" consists of meeting an old college acquaintance, Captain Lesgate (Anthony Dawson).  More like blackmailing, that is.  Mark's been plotting the perfect murder ever since he discovered Margot's affair.  It wasn't so much jealousy as it was a way to get her money.  He's spent weeks tailing Lesgate, discovering many petty crimes and name changes along the way.  What's more he offers $1,000 - money which Lesgate desperately needs.  He describes the murder, complete with alibis - Tony and Mark will be away at a stag dinner, Tony will call at 11:00 pm, Margot will come out of her room and answer the phone at the desk.  Lesgate will have retrieved a key from outside and let himself in to hide behind the curtains.  After she answers the phone, Lesgate simply strangles her, then the murder is over and no one needs to know.  The phone call is the key.  Well, nothing seems to go exactly to plan - Margot wants to go out instead of staying home, then Tony's watch stops and finally while she's being strangled, Margot fights back and -whoops!- kills Lesgate!!  Tony has to think fast as to how to frame Margot and plants the missing love letter on Lesgate.  Although Margot is arrested and tried for murder, the police chief Hubbard (John Williams) and Mark (who conveniently is an American mystery writer) aren't convinced.  Can they prove Margot's innocence before she is executed?      

Highlights

I'm often told that I'm too detail oriented.  I'm not so sure this is always a bad thing.  Hitchcock's stories come alive because of the attention to detail.  Both in the plot itself and the characters, he has a keen eye for what matters and every line, every motion adds something vital to the story.  It's almost like watching a Hemingway story come to life - there is no room for extraneous dialogue or scene setting.  Instantly we become engaged and engrossed in this film.  What's more, Tony goes to the trouble of explaining exactly what's going to happen and how.  Then later in the film, Mark figures out what really happened and suggests that Tony "make up" the same story in order to get Margot a stay of execution.  It all comes down to the smallest of clues (which I won't reveal, don't worry).

The acting is also very well done in this film.  Grace Kelly is always a delight and she is wonderful in this role.  I was so happy when she killed Lesgate - a true victory for women!  It reminded me a lot of her stand in High Noon but I don't think I should really give that ending away either.  Anyway, she is wonderful.  I also really enjoyed watching Ray Milland as the evil mastermind - I don't recall if I've seen many of his films before, but if he's in any more thrillers, I'm going to add them to my list!  Cummings and Williams both made strong supporting actors, and I loved how the Inspector refused to give up even after the trial.  He steals the show in the final scene.

Finally, a brief mention of the amazing cinematography.  As always, the camera angles and frames comment on the film itself.  I particularly enjoyed the lower camera position as it looked up at Tony while he discussed his twisted plan with Lesgate.  The near-strangulation is also very well done with all the suspense and horror we expect from Hitchcock.  I also like how he snuck into the photo of Tony's college reunion, since most shots in this film are only inside the apartment, leaving little time for him to make his famous appearance elsewhere.  I always get excited when I find him - there are still quite a few films where I haven't seen him.  All the more reason to keep watching!

Review and Recommendation

One of Hitchcock's best films, Dial M for Murder has a tight, fascinating plot, and a story with more twists and turns than an intestine.  Okay, bad analogy, but you get the idea.  I recommend it as the standout type of murder mystery where we're let in on the who/what/why beforehand and the fun comes in following the capture of the criminal.  Great for Hitchcock fans, thriller fans, Grace Kelly fans and really, anyone with any movie taste. 

High Society (1956)

Intro.

Normally, I hate remakes.  If a film isn't particularly good, then I can understand wanting to redo it, or if there's some big change or improvement (like making a silent film into a talking picture) that warrents a new film.  I also appreciate it when the new film's director pays homage or does something to respect the new film.  Case in point, Cape Fear.  The original Cape Fear from 1962 starred Gregory Peck and Robert Mitchum.  When it was remade in 1991, Martin Scorsese made sure that both men had roles in the film (both of them play lawyers in the remake).  That shows class and respect.  High Society is a different kind of remake.  It takes the movie, The Philadelphia Story, and makes it into a musical.  As it has changed genres, the film loses some of its punch, but adds some beautiful songs.  It's enjoyable in a wholly different way, which is one of the reasons I like it.

Overview
Wealthy Tracy Lord (Grace Kelly) is getting remarried at her family estate.  Her ex-husband, C. K. Dexter Haven (Bing Crosby) however, lives next door and has opened his home to a jazz festival which will coincide with (and possibly ruin) her wedding.  Dexter is still in love with his ex-wife, despite her cool condescension of his work as a "jukebox hero."  Tracy's snobbery extends to her father, who has left home due to rumors of an affair with some showgirl.  Her wedding plans get even more complex when Spy Magazine threatens to run a tell-all story about Mr. Lord - a threat which is stopped in exchange for an inside scoop of Tracy's wedding.  The two magazine reporters, Mike Conner (Frank Sinatra) and Liz Imbrie (Celeste Holm), don't know about the deal, and hate their job almost as much as Tracy hates having them there.  If things couldn't get any harder for her, her father shows up unexpectedly, Mike starts to fall for her, and in the end her in tact virtue starts to crumble when a drunken late night swim with Mike leaves her uncertain of just how far they had gone.  Her fiancee refuses to marry her, thinking her unfaithful, and the resulting mess turns into a great ending after all.

Highlights
To judge this film on its own merits, it is a very fine piece of entertainment.  I wouldn't say it was the best musical I've ever seen, but certainly one of the most charming.  I mean, how can you resist Grace Kelly, Bing Crosby and Frank Sinatra in a love triangle?  Each performer in the movie is definitely worth watching.

I think the music really adds to this film.  Songs like "True Love" and "You're Sensational" are well-performed and showcase the two singer-turned-actors.  I have always loved the Sinatra/Crosby duet, "Well, Did You Evah?" which is a funny portrait of the follies of the upper class.  You also have to laugh at the Sinatra/Holm duet, "Who Wants to be a Millionaire?"  And of course, we can't forget the jazz festival, which features none other than Louis Armstrong as himself (how cool is that?).

It's difficult to watch High Society and not compare it with The Philadelphia Story.  Each movie is fun, entertaining and features some great talent.  That being said, I think the point of the story - Tracy's fall from grace and final understanding that no one is perfect - is portrayed much more effectively in The Philadelphia Story.  In some ways, I consider that film to be a comedy-drama.  The characters are much more developed and fragile.  In the original, Dexter is an alcoholic and hit Tracy, which led to their divorce.  In High Society, their divorce isn't really explained except that Dexter is just another crooner.  Likewise, Mike's character is much more developed in The Philadelphia Story - he is a real person trapped in a job he hates who connects with Tracy after talking to her about his writing.  In High Society, Mike's a more of a plot device (I hate putting it that way!) used to make the story work.

The addition of music allows the film to not only be light-hearted, but to sort of poke fun at the upper class more so than the original film did.  One thing that really struck me in High Society is the scene where Tracy takes Mike to see the "graveyard" of the rich - mansions abandoned because the taxes are too high.  The world she belongs to is falling apart and she wants to make sure he realizes it isn't all about dinner parties and pink champagne.  But that is as serious as the film gets.  And I think that's really what they wanted to achieve - to take a comic look at the "rich and mighty", not a deeper one that borders on the dramatic.

Review and Recommendation
On its own, High Society is a fun, upbeat musical comedy.  Grace Kelly is magnificent, as are her two crooning suitors, Sinatra and Crosby.  The score is incredible, and I guarantee you'll have at least one of the songs stuck in your head afterward!  While not as deep or well-developed as The Philadelphia Story, the film achieves its purpose to entertain and to showcase three legends on screen together.  This is one remake I can love and recommend!

P.S. The original Cape Fear is still far better than the remake, by the way.