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Dial M for Murder
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CREATORS OF "Dial M for Murder"
Dial M for Murder
CRITICS OF "Dial M for Murder"
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Radio Times
Resource

July 26, 2013

Milland's sinister sophistication catches the eye, but Kelly's subtly shaded suffering is superb.
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Antagony & Ecstasy
Resource

July 05, 2014

An exercise made by an enormously talented constructor of thrillers in the most fertile period of his career.
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Variety
Resource

January 02, 2008

Dial M remains more of a filmed play than a motion picture, unfortunately revealed as a conversation piece about murder which talks up much more suspense than it actually delivers.
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London Evening Standard
Resource

July 26, 2013

Ray Milland is great as cold fish Tony Wendice, a former tennis pro who plans to bump off his adulterous wife. Still, Grace Kelly is mis-cast (or misdirected) as the spouse in question.
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Chicago Reader
Resource

January 02, 2008

The screenplay tends to constrain rather than liberate Hitchcock's thematic thrust, but there is much of technical value in his geometric survey of the scene and the elaborate strategies employed to transfer audience sympathy among the main characters.
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Cinemaphile.org
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November 25, 2015

The movie is worth seeing even now, if for no other aim than to show a man ambitiously experimenting with the devious facets that would inspire greater films.
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TIME Magazine
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August 24, 2008

The fun of Dial M lies in its duel of wits...
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Eye for Film
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August 19, 2013

The risk with clever thrillers is always that they will focus on pleasing the intellect at the expense of developing more depth. Dial M For Murder is a different kind of animal.
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Time Out
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January 04, 2007

It all moves along in a rather efficient if lifeless fashion, with only John Williams shining as a canny police detective.
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Observer (UK)
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July 28, 2013

Rather than let someone else mess with a play that has a formal perfection, Hitchcock did the adaptation himself, his only such credit while in Hollywood.
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Village Voice
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January 02, 2008

Dial M is less a filmed play than a highly cinematic investigation of theatricality.
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Village Voice

January 01, 2000

Was by far the most visually compelling of studio stereoscopic movies.
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