key to the plot
by Douglas Messerli
Frederick Knot (screenplay, based on his
play), Alfred Hitchcock (director) Dial
M for Murder / 1954
Despite the work’s absolute staginess—or, one might argue because of it—this film works, mostly
because of Milland’s delicious ability to placidly prevaricate, Cummings’
boyish loyalty to Margot, and Kelly’s gift of simply radiating a confused
beauty. And then there’s that
hilariously complex plot to keep up all amused: Tony’s slow weekly withdrawals
of bank funds to pay for the murder while hiding the fact from the police, his
secret tracking of Swann, a shady character even in his schooldays who has
committed numerous petty crimes against women before Wendice has tracked him
down, and Tony’s voyeuristic stalking of the man at the dog races week after
week. Add to that Tony’s accidental uncovering of Mark’s love letter to his
wife, his fake blackmail attempts, the way he lures Mark into attending a stag
party as a cover for his whereabouts the night of his wife’s murder, his
planned-to-the-second telephone call to draw her out of the bedroom, etc. etc.—seemingly
all for naught, since, when his watch stops, he’s late with the call, Swann
nearly leaving, and Swann is murdered with scissors Tony has asked his wife to
cut out articles from his past tennis career.

The only truly dramatic event of the film is the attempted murder, where
Swann is poised over the intended victim almost as in act of sex before Margot,
reaching for the scissors, thrusts them into his back, he impaling them even
deeper with his fall to the floor. This scene is pure Hitchcock magic!
What follows is almost a purposeful unweaving of the whole fabric of
Tony’s lies, as he redirects the very acts he has used to hide his
involvement—including his silence on the phone, his insistence that she not
immediately call the police, the discovery of money on the murdered man, and
entry through the front door—upon his wife, freeing himself to guiltlessly end
the relationship. Milland’s icy demeanor throughout makes him the perfect
fiend.
There is only one small element that has escaped this monster’s attention.
The key found in Swann’s pocket, returned by Tony to his wife’s purse, is not
the key to their flat, but to Swann’s own. Swann, thoroughly obeying Tony’s
orders, has faithfully returned the house key to the rug upon the staircase
outside the door. Since the inspector has switched raincoats with Wendice, and
Margot, asked to return home, has no way to enter the flat; when the now
keyless Tony checks the staircase, he reveals his guilt by his very entry.
Even now, however, Milland as
Tony retains his cool, pouring himself up a large drink before, presumably, going
off to prison and his ultimate hanging.
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