Meurtre

Original title: Murder!

IMDb RATING

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A juror in a murder trial, after voting to convict, has second thoughts and begins to investigate on his own before the execution.A juror in a murder trial, after voting to convict, has second thoughts and begins to investigate on his own before the execution.A juror in a murder trial, after voting to convict, has second thoughts and begins to investigate on his own before the execution.

See production info at IMDbPro

IMDb RATING

6.3/10

7.4K

YOUR RATING

See production info at IMDbPro

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Storyline

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Trivia
Sir John thinking out loud in front of the mirror had to be filmed with a recording of the lines and a 30-piece orchestra hidden behind the set, as it was not possible to post-dub the soundtrack. For the filming, an orchestra played the music live on the set. Sir Alfred Hitchcock described the filming of this scene to François Truffaut in the book-length interview Hitchcock/Truffaut (New York: Simon & Schuster, 1967). In the early days of sound film, there was no way to post-dub sound, so Hitchcock had Sir Herbert Marshall's voice recorded on a phonograph record, which was played back during filming, while the orchestra played the "radio" music live.

Goofs
At around 53 minutes, when Sir John, Ted Markham and his wife take their seats at the dining table. The camera dollies back too much and near the left edge of the screen Alfred Hitchcock is visible as he watches the unfolding scene. (Probably Hitchcock, but precise identity can't be determined from a partial glimpse of a right arm and leg).

Quotes
Prosecuting Counsel: I need not remind you that in the eyes of the law, men and women are equal. The crime of murder, in England at least, is judged dispassionately. Neither beauty nor youth no provocation, can be...

Alternate versions
The UK version includes approximately 12 minutes of footage cut from the USA release. The extra footage occurs primarily in two sequences:
Additional jury deliberations prior to the introduction of Sir Herbert Marshall as Sir John.
After the discovery of the broken basin in the playhouse dressing room, there is a lengthy sequence showing Sir John paying the stagehand who granted him entrance and leaving with the Markhams. The scene fades to the end of the day, with the weary trio stopping at the door of "the policeman's rooming house," where Sir John had planned to stay the night. Noticing the shabby neighborhood, he starts to change his mind and retire to his luxury hotel suite, but Ted Markham reminds him of his hope to discover further clues at the rooming house. Fade in to Sir John in bed the next morning, being awakened by the sound of crying children. The landlady (Una O'Connor, billed in the USA credits though all her scenes are cut) enters and regales Sir John with her troubles. Meanwhile, her children play on and around the bed and give him a kitten, which crawls under his covers. The landlady confirms that the suspected killer had access to a police uniform. Enter Ted Markham, whose ensuing dialogue with Sir John reinforces the importance of the "second" policeman and establishes the existence of the blood-stained cigarette case, both of which ultimately prove critical in solving the murder. Here, the scene cuts to the prison where the USA version picks up with Sir John's interview of Norah Baring.

Connections
Alternate-language version of Mary (1931)

Soundtracks
Symphony No.5 in C Minor, Op.67
(1809) (uncredited)
Music by Ludwig van Beethoven
Played during the opening credits

User reviews87

Featured review

Early Talkie With Merit

Early Hitchcocks are all worth seeing to observe how the Master's style evolved over the years. This story, based on a Clemence Dane book, is interesting, if only for the sub-texts flowing through it. The dialogue comes in fits and starts, which is common in the early sound films and some of the camera work is rudimentary.....but you can still spot the Hitchcock touch in the nuances of some of the scenes. Herbert Marshall is especially dashing as Sir John; he was a particularly attractive actor in his early years. Nora Baring is servicable as the accused but it is Esme Percy, as Fain, who is intriguing. As a "half-caste", originally written by Dane as gay, he is either overacting like hell or is fascinating in his interpretation....there is a fine line. Regardless, he holds your attention when he is on the screen. The film moves slowlllllllly, very slowlllllly.....but for Hitchcock and early talkie buffs, it is well worth it. Catch Una O'Conner in her younger years as the landlady. She's a treat.