Dial 'M' for Murder

While not as compelling as Hitchcock's 1954 adaptation when it comes to cinematic technique, Christopher Plummer's turn as the socipathic but suave Tony Wendice makes this made-for-TV version of the perennial thriller classic DIAL M FOR MURDER worth a watch. It's not exactly a filmed stage play, but it's a hair away from being as such. It does try to "open up" the play by setting Margot and Max's conversation at a movie studio filming an adaptation of one of the latter's mystery novels rather than in the Wendice apartment, which I thought was a clever touch, playing upon the subtle meta elements of the original play.

As for the story itself, it's pretty much exactly the original play and/or the Hitchcock movie (which was adapted by the play's author Frederick Knott anyhow). I personally think the play's first half is more interesting than the second, since none of the other characters can match Tony for charisma or guile. But it is clever and twisty, and therefore enjoyable.

A so-so, fairly competent update of the Hitchcock classic.

The film for some reason has been moved in time to 1963, which is fine by me - but seems a, little pointless if you're not going to bother dressing your cast in period clothing. Agreed, Dickinson does have a fine Dusty Springfield "do", but the gents all look to have been fitted out in a 1981 Moss Bross - Halliday doesn't even wear a tie, which just would not have happened in 1963.

The casting is less than satisfactory, Plummer does an okay but uninspiring job as the murderous husband; but Dickinson is totally wooden and passionless, as is the chap playing Halliday - and there is absolutely no magnetism whatsoever between these two

Dear old Anthony Quayle, love him, as fine an actor as he was - and he does nothing wrong here in the thankless task of recreating John Williams' Inspector Hubbard - sadly though, at 68 he's just too damned old for the part.

The film itself lacks the tension, the pace, the finesse, the pure brilliance of Hitch. Only okay if you've never seen the original.

This is a nearly line-for-line remake of Alfred Hitchcock's 1954 classic. It is drably shot (we're far from the Technicolor lushness of the original), and although the actors are good, especially Anthony Quayle as the wry Scotland Yard inspector, none of them really surpass their predecessors (the lover being the least interesting character in both versions). Yet the clockwork ingenuity of Frederick Knott's story comes through, and is more than enough to sustain it: I guess you can say it is foolproof. But if you DON'T know the story, better to start with the Hitchcock version and not get it spoiled by this one. **1/2 out of 4.

TV movies are often let down by their third rate cast, small budget and lack of attention to detail. This production is no exception.

As mentioned in an earlier review, the look of this production is very much 1980s instead of the intended 1960s. Why they can't put more effort into basic things such as hair cuts/styles and clothing is beyond me! It's just lazy not to.

With regards to casting, Dickinson, Plummer and Parks all needed to be at least 10 years younger. I've no problem with Quayle being 69 though - the more mature the better.

I too wondered why this version was set in 1963 and then remembered that is when the death penalty (an important part in the story) was abolished in the United Kingdom.

Also mentioned by another reviewer is the first half being far more interesting than the second. Unfortunately that is true in just about all versions of this film. The plot is plausible up to a point but by the half way point you have to wonder why the Police haven't started to think outside of the box a little more.

I actually think this story could play out better over three 1 hour episodes showing how the husband discovers his wife's affair, realising his desperate predicament, plotting to blackmail Swann and more cat and mouse between the husband and detective.

This version is watchable though and preferably at night time.

This TV version is captivating. The performances, particularly by Angie Dickinson and Christopher Plummer, are amazing. Angie made this film fresh off the success of DRESSED TO KILL, and she is strikingly beautiful. This is rare chance where a remake is well-worth tracking down and watching.