Dial M for Motif

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“Superficially, Dial M for Murder (1954) looks unambitious, a simple stage-to-set recreation of Frederick Knott’s hit play. Even Hitchcock, perhaps disingenuously, described it as a phoned-in effort knocked off between the location shooting of I, Confess and the elaborate staging of Rear Window. But the tightly-staged thriller bristles with symbols of objectification and possession, reducing Margot Wendice to a property passed from hand to hand, from man to man, as readily as the key around which the plot revolves.”

Today at The Toast, my analysis of symbols in Hitchcock’s Dial M for Murder.

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