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Il delitto perfetto

Titolo originale: Dial M for Murder
  • 1954
  • T
  • 1h 45min
VALUTAZIONE IMDb
8,2/10
199.190
LA TUA VALUTAZIONE
POPOLARITÀ
2114
398
Grace Kelly and Anthony Dawson in Il delitto perfetto (1954)
Theatrical Trailer from Warner Bros. Pictures
Riproduci trailer2: 34
2 video
99+ foto
CrimeDramaMysteryThriller

Un ex tennista decide di uccidere sua moglie per ereditare i suoi soldi e vendicarsi di un caso che aveva avuto. Per sbarazzarsi del senso di colpa, usa un vecchio collega del college. Ma le... Leggi tuttoUn ex tennista decide di uccidere sua moglie per ereditare i suoi soldi e vendicarsi di un caso che aveva avuto. Per sbarazzarsi del senso di colpa, usa un vecchio collega del college. Ma le cose non andranno come previsto.Un ex tennista decide di uccidere sua moglie per ereditare i suoi soldi e vendicarsi di un caso che aveva avuto. Per sbarazzarsi del senso di colpa, usa un vecchio collega del college. Ma le cose non andranno come previsto.

  • Regia
    • Alfred Hitchcock
  • Sceneggiatura
    • Frederick Knott
  • Star
    • Ray Milland
    • Grace Kelly
    • Robert Cummings
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    8,2/10
    199.190
    LA TUA VALUTAZIONE
    POPOLARITÀ
    2114
    398
    • Regia
      • Alfred Hitchcock
    • Sceneggiatura
      • Frederick Knott
    • Star
      • Ray Milland
      • Grace Kelly
      • Robert Cummings
    • 457Recensioni degli utenti
    • 78Recensioni della critica
    • 75Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Film più votato #161
    • Nominato ai 1 BAFTA Award
      • 5 vittorie e 3 candidature totali

    Video2

    Dial M For Murder
    Trailer 2:34
    Dial M For Murder
    A Guide to the Films of Alfred Hitchcock
    Clip 2:27
    A Guide to the Films of Alfred Hitchcock
    A Guide to the Films of Alfred Hitchcock
    Clip 2:27
    A Guide to the Films of Alfred Hitchcock

    Foto265

    Visualizza poster
    Visualizza poster
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    + 260
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    Interpreti principali29

    Modifica
    Ray Milland
    Ray Milland
    • Tony Wendice
    Grace Kelly
    Grace Kelly
    • Margot Wendice
    Robert Cummings
    Robert Cummings
    • Mark Halliday
    John Williams
    John Williams
    • Chief Inspector Hubbard
    Anthony Dawson
    Anthony Dawson
    • Charles Swann
    Leo Britt
    • The Storyteller
    Patrick Allen
    Patrick Allen
    • Detective Pearson
    George Leigh
    • Detective Williams
    George Alderson
    • First Detective
    Robin Hughes
    Robin Hughes
    • Police Sergeant O'Brien
    Richard Bender
    • Banquet Member
    • (non citato nei titoli originali)
    Robin Sanders Clark
    • Detective
    • (non citato nei titoli originali)
    Jack Cunningham
    • Bobby Outside Flat
    • (non citato nei titoli originali)
    Robert Dobson
    • Police Photographer
    • (non citato nei titoli originali)
    Guy Doleman
    Guy Doleman
    • Detective
    • (non citato nei titoli originali)
    Bess Flowers
    Bess Flowers
    • Woman Departing Ship
    • (non citato nei titoli originali)
    Robert Garvin
    • Banquet Member
    • (non citato nei titoli originali)
    Herschel Graham
    Herschel Graham
    • Banquet Member
    • (non citato nei titoli originali)
    • Regia
      • Alfred Hitchcock
    • Sceneggiatura
      • Frederick Knott
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti457

    8,2199.1K
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    Riepilogo

    Reviewers say 'Dial M for Murder' is acclaimed for its suspenseful plot and Alfred Hitchcock's direction. Ray Milland, Grace Kelly, and John Williams receive praise for their performances. The film's intricate plot and Hitchcock's suspense style are highlighted. However, some critiques note the staginess, confined setting, and implausible plot elements. A few find the characters unlikable and the dialogue theatrical. Despite these issues, it is often regarded as a solid thriller showcasing Hitchcock's skill.
    Generato dall’IA a partire dal testo delle recensioni degli utenti

    Recensioni in evidenza

    9PizzicatoFishCrouch

    Tense and exciting.

    Tony Wendice (Ray Milland), an ex-tennis player, unhappily married to Margot (Grace Kelly), correctly guesses that she has been cheating, with Mark Halliday (Robert Cummings). Mark writes crime stories. Unbeknown to Margot and Mark, Tony knows about the affair, and wants to teach Margot a little lesson, by taking away the thing that is her life. But, being too guileful to do it himself, Wendice blackmails one of his old school friends into murdering her, and the essential thing to doing it is his latchkey.

    Dial M for Murder succeeds on many levels, and it is largely thanks to some superb dialogue, written from a tricksy-yet-capable script that never gets too deep. The cast are a treat. Ray Milland is an absolute gem, extremely sly and dispassionate, yet a character so full of self-assurance that one almost sides with him. Grace Kelly completes her great year (she gave an Oscar-winning performance in The Country Girl and also starred in Rear Window) by emanating the poised, beautiful being, that is vulnerable, yet oddly unassailable. And it's weird in that even though she's cheating on her husband, you care for her a lot more than him (although that could do with the fact that he's trying to kill her...) And John Williams, as the police detective, is quite wonderful.

    Alfred Hitchcock manipulates and enthrals his audience here like the master that he is. Each scene has a sense of direction, great pacing, and is staged realistically. Stunning full colour photography and a haunting, atmospheric score from Dimitri Tiomkin complete this great package. The ending, when it comes, feels a little too nice to be truly realistic, but that is my only major quibble with an otherwise highly entertaining, thrilling movie.
    9TheUnknown837-1

    The stage-originated dialogue sings with intelligence, wit, and an easy transition to the screen

    There is a lot to admire about Alfred Hitchcock's "Dial M for Murder," and I do hold the film with a great deal of admiration and respect. However, what I adore about the movie the most (more than the cinematography, the suspense, the acting, and even the direction) is the work by screenwriter Frederick Knott. Mr. Knott based the screenplay for "Dial M for Murder" on his successful stage production, which I have never seen, but am told contains almost all of the words we hear in the film. And the words are music to the ears. They sing with intelligence, wit that Mr. Hitchcock certainly found attractive, and, best of all, an easy transition to the screen. Many times when a stage production goes to film, as far as I am concerned, the results, even if good, are uneven. Frequently, the dialogue and restricted set space allowed tend to give off the impression of a filmed play, not a cinematic experience. Another Hitchcock film, 1948's "Rope," though valiant, interesting, and successful, attempted this and suffered from this difficult struggle.

    But the dialogue, put on film here, is exceptional. I write this review having seen "Dial M for Murder" two or three times and wanting to see it once again. Many reviewers, myself included, have tried watching films with the sound off. I want to try the opposite. I want to close my eyes and just listen to the dialogue because it's so strong. The MacGuffin conversation at the beginning, with a perfectly cast Ray Milland blackmailing a perfectly cast Anthony Dawson into murdering a perfectly cast Grace Kelly is brilliantly written by Mr. Knott. It was clearly from a stage production, as it explains the plot background in great detail, and goes on for the better part of twenty minutes. Both men are fleshed out, giving us their personalities and individual tendencies. And even though "Dial M for Murder" pretty much stays on just one small set (an apartment in London, in which we see mostly the foyer, a little of the bedroom, and just a glimpse of the kitchen), what happens there is so fascinating that we do not really want to venture out into the city.

    And that is just the setup. The dialogue remains insistently interesting and clever throughout the picture. It also has that subtle, dark sense of humor that Alfred Hitchcock was keen on. It also has the ironic touches, such as when Mr. Milland, as the jealous husband, kisses his unfaithful wife on the night she is to be murdered, and tells her: "Goodbye, my dear." The audience, having been given every single little detail about the scheme and how it is to unfold, cringes with a dark realization that Mr. Hitchcock might just go through with Mr. Milland's plot. Mr. Hitchcock, as the director, is also due tremendous credit for his trademark of creating tension. Screenwriter Knott brilliantly lays out for the audience, not the victim, how the murder will go through, but Mr. Hitchcock's camera dutifully follows everything as the scheme goes along. And, before we realize it, if something starts to go wrong, we become scared and tense. And you can imagine my guilt when I realized I was feeling scared that a plan to murder someone just might not go through. It's Mr. Hitchcock's gift at work.

    Dimitri Tiomkin, a very good film composer, hits all the write notes; that includes knowing when he needs to tell his violins and trumpets to shut up. Robert Burks' cinematography is also strong with effective usage of shadows and streaks of light. Colors are omnipresent. And even though "Dial M for Murder" was shot with the intent to be seen in 3D, it is hardly evident. When I first saw the film, in much superior 2D, I did not mind the lamps and such in the foreground, such as when one bisects the screen between Ray Milland and Anthony Dawson during the opening sequence. I just thought it was a clever piece of filmmaking and misc en scene, not a cheap gimmick like in most 3D movies today. "Dial M for Murder" is a near-perfect movie of its kind, pumped full of smart dialogue and dazzling energy. This is one of the few play-to-movie transition that I have seen where I have suddenly become eager to see the original stage production.
    8Galina_movie_fan

    "Do you really believe in the perfect murder? "

    The hit Broadway play by Frederick Knott "Dial M for Murder" has been adapted to the screen several times, including the films made in West Germany and Sweden, as well as a TV movie in 1981 (TV) by Boris Seagal and the film "A Perfect Murder" (1998) directed by Andrew Davis with Michael Douglas, Gwyneth Paltrow, and Viggo Mortensen. Alfred Hitchcock's 1954 adaptation was the first and certainly the best one even if the master himself considered it one of his lesser efforts. "Dial M for Murder" will be remembered as Hitchcock's first color film and the first of three thrillers he had made with Grace Kelly, the future Princess of Monaco, in the prime of her beauty and her talent. Using color proved to be very effective in the film. The first two scenes featuring Kelly wearing a white morning dress in the idyllic scene with her husband Tony and right after that kissing passionately her American lover, writer (Robert Cummings) in the red dress, immediately, without many words tell the viewer that the story of passion, deception, betrayal, and ultimately, murder will follow.

    Ray Milland (Tony Wendice) is a surprisingly sympathetic villain (which is perhaps not surprising from the actor with talent, charm, and charisma that equal and remind a lot of both Cary Grant and Jimmy Stewart) who knows about his wife cheating and decides to teach her a lesson by plotting a very clever murder which will make him a sole heir to her money (she is a wealthy one in the family). His plan is perfect and almost works but Margot managed to not only escape the murderer but to turn the table on him while stunned Wendice is on the phone and listens how his well thought of plan collapses. Wendice is very resourceful and he proved to be a master of improvisation because it took him a few minutes in a cab to switch to a plan B that turned a terrified victim Margot into a cold-blooded murderess. Now it is up to seasoned and shrewd inspector Hubbard (John Williams) to find the crucial piece of evidence and to solve the case.

    As always with Hitchcock, his directing is impeccable, the camera rarely leaves Wendice's apartment but the film is never claustrophobic which is the case for many plays' adaptation. It breathes and moves freely and we almost forget that we are in the same room for close to two hours. I would not call "Dial M for Murder" my favorite Hitchcock's film but it is enjoyable, clever, and witty thriller with the interesting twists, outstanding performances, and more than one truly memorable scenes.
    9Sleepin_Dragon

    Intensely clever.

    Retired tennis star Tony Wendice decides to do away with his wife Margot. Tony is aware that his wife has been having an affair with a friend of theirs, Mark Halliday. Tony concocts the 'perfect murder.'

    I'm working my way through Hitchcock's tremendous catalogue of films, I've kept this one til the end purposely, as I regard it as one of his best. It's suspenseful, it's intriguing, but best if all, it's clever.

    Dial M for Murder has a genius plot, it is so clever, the plot is intricate and complicated, it never fails to impress me, so many details, and a spider's web that few could imagine.

    I've been lucky enough to see this on stage a few times, it lends itself very well to The Theatre, this is one film I'd love to see retold.

    I'm glad Ray Milland was cast as Tony, he's perfect in the role, he's charming and respectable, but has a wolfish like quality, the kind of guy that would shake your hand, then give you a black eye later on. Grace Kelly and Robert Cummings are terrific.

    It's been adapted a few times, one version I quite enjoyed is a Perfect Murder, featuring Michael Douglas, it's not a patch on this, but it's very good.

    I love that there's an intermission in it, it's a shame the third Lord of The Rings film didn't follow suit.

    9/10.
    8Spondonman

    Excellent

    What gets me about this film every time I see it is just how simple it is. The witty urbanity of the dialogue goes without saying (hem), the acting is stagily impeccable, and the direction by Hitchcock is limited by the small sets but masterful for all that.

    Cold Ray Milland plans and sets up the murder of his demure but faithless wife Grace Kelly by a virtual stranger who is urged on by the stick of exposure of his misdeeds and the carrot of GBP1,000 in used notes. Of course all of his convoluted plans go horribly or thankfully wrong, depending on your point of view, leading to an even more convoluted revised plan. When first seen when young I wasted my time because I wasn't paying attention at the critical moment so missed the point and didn't get it: the key is how did the baddie get into the apartment? It's incredibly verbose, being from a stage play after all and at times it seems nothing more than a radio show with pictures. The long scene setting and verbal sparring by Milland and Anthony Dawson is superb to hear - it's fascinating for its relentless poetry, and of displaying a now-dead world. I could never understand the attraction of 3D movies, least of all with this particular attempt, or why Kelly was continually uglified by the Hollywood machine when she never looked lovelier than in here when she was playing stressed out throughout.

    I wonder if Hitch remembered the jokey murder scene he did in 1930 in Elstree Calling when Jameson Thomas realised he was murdering in the wrong apartment? Turn that key you have and go in, it's a remarkably literate film and as intricate inside as any lock.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      John Williams won the 1953 Tony Award for Best Featured Actor in a Play for "Dial M for Murder" as Inspector Hubbard. He re-created the role in this movie.
    • Blooper
      Wendice throws a £100 bundle on a pink armchair. The money falls right at the back of the seat. A few minutes later, Swann takes the money which is now right in front of the armchair.
    • Citazioni

      Tony Wendice: How do you go about writing a detective story?

      Mark Halliday: Well, you forget detection and concentrate on crime. Crime's the thing. And then you imagine you're going to steal something or murder somebody.

      Tony Wendice: Oh, is that how you do it? It's interesting.

      Mark Halliday: Yes, I usually put myself in the criminal's shoes and then I keep asking myself, uh, what do I do next?

      Margot Mary Wendice: Do you really believe in the perfect murder?

      Mark Halliday: Mmm, yes, absolutely. On paper, that is. And I think I could, uh, plan one better than most people; but I doubt if I could carry it out.

      Tony Wendice: Oh? Why not?

      Mark Halliday: Well, because in stories things usually turn out the way the author wants them to; and in real life they don't... always.

      Tony Wendice: Hmm.

      Mark Halliday: No, I'm afraid my murders would be something like my bridge: I'd make some stupid mistake and never realize it until I found everybody was looking at me.

    • Curiosità sui crediti
      The title is shown on a background of a British telephone dial; its MNO marking is replaced by a single large M which forms the single M of the title.
    • Versioni alternative
      The film had an intermission in its original 3-D release, although it is less than two hours in length.
    • Connessioni
      Edited into Histoire(s) du cinéma: Le contrôle de l'univers (1999)

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    Dettagli

    Modifica
    • Data di uscita
      • 19 novembre 1954 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Con M de Muerte
    • Luoghi delle riprese
      • Stage 5, Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, Stati Uniti
    • Azienda produttrice
      • Warner Bros.
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 1.400.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 24.845 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 12.562 USD
      • 11 apr 1999
    • Lordo in tutto il mondo
      • 45.313 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 45 minuti
    • Colore
      • Color
    • Proporzioni
      • 1.66 : 1

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