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Dial M for Murder
A three act drama for five men and one woman about a murder-for-hire gone wrong.
72 pages, Paperback
First published January 1, 1952
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804 people want to read
About the author
Frederick Knott
14 books6 followersKnott was the son of English missionaries who sent him to be educated in England. A graduate of Cambridge, his promising tennis career was cut short by WWII. He served in the British Army Artillery as a signals instructor. He eventually moved to New York, and found success with three stories he wrote for the British and American stage.
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Displaying 1 - 30 of 66 reviews
October 5, 2020
This play became an excellent movie,directed by Alfred Hitchcock.He seldom made a bad movie,and picked some great scripts.
Dial M for Murder is chilling and suspenseful,as a husband tries to get rid of his wife through a hired killer.
The action takes place on a single set,and yet it does not detract from the movie.Ray Milland plays the scheming husband,and Grace Kelly,(who was later to become the queen of Monaco),plays the innocent wife,who is caught in a web of deception.
Wonderful script,great movie,another feather in Hitchcock's cap.
Dial M for Murder is chilling and suspenseful,as a husband tries to get rid of his wife through a hired killer.
The action takes place on a single set,and yet it does not detract from the movie.Ray Milland plays the scheming husband,and Grace Kelly,(who was later to become the queen of Monaco),plays the innocent wife,who is caught in a web of deception.
Wonderful script,great movie,another feather in Hitchcock's cap.
Read
August 28, 2019I have heard the stage play/book, movie, and every way this set of words has been prepared. I just love it, and I've recently read. listened to the play and as many interesting ways there are to enjoy this work with Alfred Hitchcock. Great Stuff,
In London, 1952, the wealthy Margot Wendice has convinced her professional tennis player
husband, Tony, to give up playing to spend more time with her. He now sells sports equipment, and, to Margot, their life together is a happy one. However, he has discovered that while he was on a tennis tour in the United States several years ago, Margot had an affair with an American murder mystery writer named Max Halliday.
Because he wants revenge as well as her money, Tony meticulously plans Margot’s murder. She has no idea that Tony knows of her past affair, nor does she have any suspicion that he planning to kill her. Max comes to London to visit the couple, and Tony uses this as the opportunity to fulfill his plan.
Tony blackmails a man who calls himself Captain Lesgate, a former schoolmate and convicted
criminal, to carry out the scheme. They plan what they believe is the perfect murder. But when
Margot refuses to play the part of the victim, things go much differently than planned.
Frederick Knott's debut play Dial M for Murder opened in London in the summer of 1952, and in New York a few months later with slight changes to the script (for example, the M in the tide was performed in thirty countries and in 1954, a screen version adapted by Knott and directed
by Alfred Hitchcock was released. Such an unemotional study of the art of murder and the darker impulses which motivate one human to harm another seems tailor-made for Hitchcock.
Additional motifs that may have attracted the great director to this work include characters who plau tennis and swirl brandy; but, one of the most "Hitchcockian" features in Knott's play is the staircase--a symbol employed in German expressionism to denote emotional identify, or the landscape of the mond. A disciple of expressionistic film, Hitchcock used the staircase to illustrate different emotions, to heighten suspense, and to convey movement either toward or away from danger. In Dial M for Murder, it is the place (on the fifth step) where Tony hides the key to his apartment and it is a crucial site of plot reversal and recognition.
An exploration of a Stage Play, a Movie, and A book has been very fascinating to review all these types for one type of literature. I really enjoyed my review and study of it. Highly Recommend.
I
In London, 1952, the wealthy Margot Wendice has convinced her professional tennis player
husband, Tony, to give up playing to spend more time with her. He now sells sports equipment, and, to Margot, their life together is a happy one. However, he has discovered that while he was on a tennis tour in the United States several years ago, Margot had an affair with an American murder mystery writer named Max Halliday.
Because he wants revenge as well as her money, Tony meticulously plans Margot’s murder. She has no idea that Tony knows of her past affair, nor does she have any suspicion that he planning to kill her. Max comes to London to visit the couple, and Tony uses this as the opportunity to fulfill his plan.
Tony blackmails a man who calls himself Captain Lesgate, a former schoolmate and convicted
criminal, to carry out the scheme. They plan what they believe is the perfect murder. But when
Margot refuses to play the part of the victim, things go much differently than planned.
Frederick Knott's debut play Dial M for Murder opened in London in the summer of 1952, and in New York a few months later with slight changes to the script (for example, the M in the tide was performed in thirty countries and in 1954, a screen version adapted by Knott and directed
by Alfred Hitchcock was released. Such an unemotional study of the art of murder and the darker impulses which motivate one human to harm another seems tailor-made for Hitchcock.
Additional motifs that may have attracted the great director to this work include characters who plau tennis and swirl brandy; but, one of the most "Hitchcockian" features in Knott's play is the staircase--a symbol employed in German expressionism to denote emotional identify, or the landscape of the mond. A disciple of expressionistic film, Hitchcock used the staircase to illustrate different emotions, to heighten suspense, and to convey movement either toward or away from danger. In Dial M for Murder, it is the place (on the fifth step) where Tony hides the key to his apartment and it is a crucial site of plot reversal and recognition.
An exploration of a Stage Play, a Movie, and A book has been very fascinating to review all these types for one type of literature. I really enjoyed my review and study of it. Highly Recommend.
I
October 29, 2017
I enjoyed this one more than the last. I wish I knew what the letter said...
There are so many stories and books about planning the perfect murder. At this point, I'm hoping my husband doesn't read any of them. :)
There are so many stories and books about planning the perfect murder. At this point, I'm hoping my husband doesn't read any of them. :)
Want to read
March 3, 2019Synopsis: a three act drama about a murder-for-hire gone wrong. Ray Milland and Grace Kelly starred for director Alfred Hitchcock.
September 14, 2020
This was a mysterious hire for murder gone wrong intense thriller,
Most of the plot stays inside an apartment, the distance between each character was extremely intimidating
However, the tension that builds through the story was not limited to the characters revealing major plot points, but the objects and it's placing in the apartment had a voice of its own, a separate role to play and that to me seemed the most interesting aspect of the storytelling.
The author wrote a simple plot filled with suspense stretched till the end, a fine piece of a three-act structure.
I just can't think of writing about the characters, Any slightest detail of explanation might result in spoilers.
Not a spoiler: never mess around a smart person
Most of the plot stays inside an apartment, the distance between each character was extremely intimidating
However, the tension that builds through the story was not limited to the characters revealing major plot points, but the objects and it's placing in the apartment had a voice of its own, a separate role to play and that to me seemed the most interesting aspect of the storytelling.
The author wrote a simple plot filled with suspense stretched till the end, a fine piece of a three-act structure.
I just can't think of writing about the characters, Any slightest detail of explanation might result in spoilers.
Not a spoiler: never mess around a smart person
December 22, 2023
Honestly just so well done. To the point while also opening the world enough to keep it interesting and silly while still going to the depths of what a murder mystery should be.
October 26, 2025
Saw the play, wanted to read the book. Interesting twist. Next - the movie.
March 26, 2025
This play has a gripping murder plot!
January 24, 2014
Una buona sceneggiatura è tutto.
Se si dovesse poi disporre di un’ottima sceneggiatura – un eccellente testo teatrale, poniamo il caso, firmato da quell’autentico genio della drammaturgia che è stato Frederick Knott – si correrebbe perfino il rischio di mettere in scena la miglior commedia gialla che si sia mai vista sul grande schermo. Certo bisognerebbe cavar fuori dal cilindro una coppia d’attori del calibro di Ray Milland e Grace Kelly, e una regia sapiente, misurata, fedele al testo e al contempo velata di originalità.
Pochi – ma indispensabili – ingredienti, in fin dei conti, e Il delitto perfetto è servito.
Alfred Hitchcock realizzò la trasposizione cinematografica dell’omonimo dramma di Frederick Knott (il bel titolo originale, Dial M for Murder, allude al quartiere londinese di Maida Vale in cui si svolge la vicenda) nel 1953, a poco più di un anno dalla fortunata première britannica; la pellicola, girata pressoché interamente nel salotto “bene” di casa Wendice – mobili Chippendale, statuette Wedgwood e stampe di Rosa Bonheur, tanto per gradire! – nel rispetto delle tre regole aristoteliche (unità di luogo, tempo e azione) e dell’origine teatrale dello script, ottenne subito un folgorante successo di cui non è difficile comprendere le ragioni. In primo luogo l’estrema raffinatezza e ingegnosità dell’intreccio. “Dial M for Murder” coniuga gli elementi del giallo tradizionale – delitto, castigo e un’indagine che tiene col fiato sospeso pur essendo nota sin dall’inizio l’identità del colpevole… perché vi è pur sempre una falla, una crepa da individuare: l’errore che rende qualsiasi crimine, nella realtà o sulla carta, inevitabilmente imperfetto – con le cadenze della commedia brillante mettendo in scena un rompicapo che avvince e coinvolge lo spettatore dalle prime battute all’impagabile sorpresa finale. In secondo luogo, come si è accennato, il cast attoriale: se da un lato la futura Princesse Grace è a dir poco superba negli elegantissimi panni di Margot Wendice, vittima designata del diabolico marito ma soprattutto delle proprie debolezze, Ray Milland rasenta – e a tratti prepotentemente raggiunge – la perfezione nel prestare volto, voce e movenze a un villain coi controfiocchi, tra i più untuosi e convincenti che siano mai scaturiti dalla penna di un giallista. Ultimo ma non ultimo John Williams, attore caro a Sir Alfred (esordì nel 1947 ne “Il caso Paradine” e lo ritroveremo, nel 1955, in Caccia al ladro) che qui offre una caratterizzazione magistrale dell’ispettore capo Hubbard conferendo al pur riuscitissimo deus ex machina delineato da Knott un sovrappiù di ironica, sorniona autorevolezza: nel momento stesso in cui entra in scena abbiamo la certezza che, in un modo o nell’altro, la faccenda verrà risolta e l’ordine ristabilito.
Non vi è nulla di scontato, tuttavia, in quest’opera che manderà nel proverbiale brodo di giuggiole i fanatici del poliziesco all’inglese senza scontentare chi non si muove con passo sicuro sul terreno del whodunit. Pur riprendendo, come si è detto, gli elementi più tipici del giallo deduttivo, il lavoro in commento ha il pregio di rielaborarli con grazia e destrezza conservandone lo spirito e il messaggio. Quando riesplode la luce in sala, o cala il sipario, riusciamo perfino a cullarci nella – fuggevole, ahimé – convinzione che il crimine, dopotutto, non paga. Un conforto che tanta letteratura d’oggi, con una discreta dose di perfidia, ha scelto di negare ai propri lettori.
Se si dovesse poi disporre di un’ottima sceneggiatura – un eccellente testo teatrale, poniamo il caso, firmato da quell’autentico genio della drammaturgia che è stato Frederick Knott – si correrebbe perfino il rischio di mettere in scena la miglior commedia gialla che si sia mai vista sul grande schermo. Certo bisognerebbe cavar fuori dal cilindro una coppia d’attori del calibro di Ray Milland e Grace Kelly, e una regia sapiente, misurata, fedele al testo e al contempo velata di originalità.
Pochi – ma indispensabili – ingredienti, in fin dei conti, e Il delitto perfetto è servito.
Alfred Hitchcock realizzò la trasposizione cinematografica dell’omonimo dramma di Frederick Knott (il bel titolo originale, Dial M for Murder, allude al quartiere londinese di Maida Vale in cui si svolge la vicenda) nel 1953, a poco più di un anno dalla fortunata première britannica; la pellicola, girata pressoché interamente nel salotto “bene” di casa Wendice – mobili Chippendale, statuette Wedgwood e stampe di Rosa Bonheur, tanto per gradire! – nel rispetto delle tre regole aristoteliche (unità di luogo, tempo e azione) e dell’origine teatrale dello script, ottenne subito un folgorante successo di cui non è difficile comprendere le ragioni. In primo luogo l’estrema raffinatezza e ingegnosità dell’intreccio. “Dial M for Murder” coniuga gli elementi del giallo tradizionale – delitto, castigo e un’indagine che tiene col fiato sospeso pur essendo nota sin dall’inizio l’identità del colpevole… perché vi è pur sempre una falla, una crepa da individuare: l’errore che rende qualsiasi crimine, nella realtà o sulla carta, inevitabilmente imperfetto – con le cadenze della commedia brillante mettendo in scena un rompicapo che avvince e coinvolge lo spettatore dalle prime battute all’impagabile sorpresa finale. In secondo luogo, come si è accennato, il cast attoriale: se da un lato la futura Princesse Grace è a dir poco superba negli elegantissimi panni di Margot Wendice, vittima designata del diabolico marito ma soprattutto delle proprie debolezze, Ray Milland rasenta – e a tratti prepotentemente raggiunge – la perfezione nel prestare volto, voce e movenze a un villain coi controfiocchi, tra i più untuosi e convincenti che siano mai scaturiti dalla penna di un giallista. Ultimo ma non ultimo John Williams, attore caro a Sir Alfred (esordì nel 1947 ne “Il caso Paradine” e lo ritroveremo, nel 1955, in Caccia al ladro) che qui offre una caratterizzazione magistrale dell’ispettore capo Hubbard conferendo al pur riuscitissimo deus ex machina delineato da Knott un sovrappiù di ironica, sorniona autorevolezza: nel momento stesso in cui entra in scena abbiamo la certezza che, in un modo o nell’altro, la faccenda verrà risolta e l’ordine ristabilito.
Non vi è nulla di scontato, tuttavia, in quest’opera che manderà nel proverbiale brodo di giuggiole i fanatici del poliziesco all’inglese senza scontentare chi non si muove con passo sicuro sul terreno del whodunit. Pur riprendendo, come si è detto, gli elementi più tipici del giallo deduttivo, il lavoro in commento ha il pregio di rielaborarli con grazia e destrezza conservandone lo spirito e il messaggio. Quando riesplode la luce in sala, o cala il sipario, riusciamo perfino a cullarci nella – fuggevole, ahimé – convinzione che il crimine, dopotutto, non paga. Un conforto che tanta letteratura d’oggi, con una discreta dose di perfidia, ha scelto di negare ai propri lettori.
August 18, 2019
This is a fine noir/Agatha Christie style murder mystery play. Not really my kind of thing, but I'm doing some dramaturgy work for a local production. The resolution of the play is rather clever, so that's at least rewarding, but again, this isn't the kind of thing I would pick up to read on my own.
October 22, 2016
Despite the fact that I think the movie is fairly well thought of, the play leaves something to be desired. There is just so much exposition in the first half; for like 10 pages, Tony is explaining to Lesgate his every activity of the previous year in painstaking detail. It drags and it's hard to get particularly worked up about it. Tony is reasonably creepy and menacing, but the fact that he just talks about everything he's done without us getting a chance to see it takes away from the sinister quality he should have. And then the ending, ugh. Not into it. All that stuff with the keys is fairly ludicrous. I'm no lawyer, but I don't really think any of it would hold up in court.
June 9, 2015
This was a fun read! Granted I was hoping it would be a "who done it" situation instead of knowing the killer and watching the case unfold to catch him, but it was still a fun read! It was fast paced and kept my interest the whole time. I know it is because it's a play, but as I was reading I could see in my head the people on a stage portraying the characters which was cool. Im pretty sure this is the first play I read without it being a school required read. I definitely recommend it to people who either haven't got much experience with plays or who like murder mysteries.
December 30, 2020
Quoted from introduction on site:-
"Dial M for Murder is a thriller film directed by Alfred Hitchcock starring Grace Kelly, Ray Milland and Robert Cummings and released by Warner Brothers. The film was based on the almost identical stage play of the same title by English playwright Frederick Knott. Dial M for Murder premiered in 1952 as a BBC television play, before being performed on the stage in the same year. The screenplay was written by Knott, who moved to the U.S. in 1954 and wrote only one other well-known play, Wait Until Dark, which was filmed a year later. He also wrote a lesser-known play, Write Me a Murder, which ran for 196 performances at Belasco Theater."
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Before one read that, one assumed the excellence of the script was a but of course, since the film was an Alfred Hitchcock masterpiece. As it is, now that one knows the author wrote Wait Until Dark as well, the excellence began with the author. One would have liked the author to have written more, and the pair, Knott and Hitchcock, to do much more together.
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It wouldn't be possible to write about the Hitchcock film without giving away everything and gushingly, too, but it's far better to see it.
It was remade comparatively recently, with Michael Douglas replacing Ray Milland, and much more glamour, set in New York. And they introduced slight complications - the purity of the wife was perhaps not to taste of the remakers. Here there was an artist lover, and complications escalated until the husband is caught and worse - and its not just the police who catch him.
And while this remake is quite good, still, the original excells, as Hitchcock often does.
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December 30, 2020.
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"Dial M for Murder is a thriller film directed by Alfred Hitchcock starring Grace Kelly, Ray Milland and Robert Cummings and released by Warner Brothers. The film was based on the almost identical stage play of the same title by English playwright Frederick Knott. Dial M for Murder premiered in 1952 as a BBC television play, before being performed on the stage in the same year. The screenplay was written by Knott, who moved to the U.S. in 1954 and wrote only one other well-known play, Wait Until Dark, which was filmed a year later. He also wrote a lesser-known play, Write Me a Murder, which ran for 196 performances at Belasco Theater."
................................................................................................
Before one read that, one assumed the excellence of the script was a but of course, since the film was an Alfred Hitchcock masterpiece. As it is, now that one knows the author wrote Wait Until Dark as well, the excellence began with the author. One would have liked the author to have written more, and the pair, Knott and Hitchcock, to do much more together.
................................................................................................
It wouldn't be possible to write about the Hitchcock film without giving away everything and gushingly, too, but it's far better to see it.
It was remade comparatively recently, with Michael Douglas replacing Ray Milland, and much more glamour, set in New York. And they introduced slight complications - the purity of the wife was perhaps not to taste of the remakers. Here there was an artist lover, and complications escalated until the husband is caught and worse - and its not just the police who catch him.
And while this remake is quite good, still, the original excells, as Hitchcock often does.
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December 30, 2020.
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November 10, 2022
As diabolically charming as its leading character, Dial "M" for Murder tells the fiendishly clever tale of Tony Wendice, an aging tennis star-party boy who conceives what he thinks to be the perfect crime. Though she's unaware of the fact, Tony married his wife Margot for her money; that's why her own indiscreet affair with American writer Max Halliday--which she believes Tony doesn't know about--plays so neatly into Tony's plans. He contrives to get Margot and the visiting Max out of the house for an evening, so that he can conspire with a duplicitous gentleman who will kill Margot for £1,000; that's in Scene 2. In Scene 4, the plan is put in motion... except Margot doesn't just passively allow herself to be killed. (If you've seen the famous movie starring Grace Kelly then you know what happens; if you haven't, I'll allow you to discover for yourself what it is that she does.
And then in Act II, with Margot not dead (but someone else very much murdered), the thousand pounds unaccounted for, and a life of leisure and luxury not yet a foregone conclusion for the conniving Tony--well, things really start to get interesting.
What's ultimately so neat about Dial "M" for Murder (which was penned by Frederick Knott, whose works also include Wait Until Dark) is that it's almost an anti-thriller: the audience watches Tony plot his masterful crime, and also sees Margot foil it--we know all the facts all the time, and yet the suspense is both palpable and relentless. That's because the fun of the play is in watching Tony wriggle his way out of each unforeseen setback, making one swift and sneaky move after another to try to keep his various opponents off-balance and get what he wants (i.e., his hands all over his wife's money). And even though we don't ever particularly doubt that Tony won't actually get away with anything--the presence of the stalwart detective Inspector Hubbard assures us of that--it's hard not to root for this rotter of an anti-hero, whose gleeful amorality is almost awesome.
And then in Act II, with Margot not dead (but someone else very much murdered), the thousand pounds unaccounted for, and a life of leisure and luxury not yet a foregone conclusion for the conniving Tony--well, things really start to get interesting.
What's ultimately so neat about Dial "M" for Murder (which was penned by Frederick Knott, whose works also include Wait Until Dark) is that it's almost an anti-thriller: the audience watches Tony plot his masterful crime, and also sees Margot foil it--we know all the facts all the time, and yet the suspense is both palpable and relentless. That's because the fun of the play is in watching Tony wriggle his way out of each unforeseen setback, making one swift and sneaky move after another to try to keep his various opponents off-balance and get what he wants (i.e., his hands all over his wife's money). And even though we don't ever particularly doubt that Tony won't actually get away with anything--the presence of the stalwart detective Inspector Hubbard assures us of that--it's hard not to root for this rotter of an anti-hero, whose gleeful amorality is almost awesome.
September 28, 2019
DIAL M FOR MURDER remains Frederick Knott's most successful work, produced with great box-office draw on Broadway, made into a popular Hitchcock film, remade for TV several times, and still a staple of high school and amateur companies. It's witty and delightfully complex, with one of the theater's most memorable sociopathic villains in the erudite, self-pitying, money-grubbing Tony Wendice.
I will say my only issue with it is that it's rather remote and cold due to not having memorable supporting characters-- while you don't want to see Margot get hanged, she isn't the most interesting character and she's very passive, nothing more than a pawn in this game. Neither Inspector Hubbard or Max end up being as charismatic as Tony either. For this reason, the second half of the play isn't as compelling as the first since it focuses more on these lesser characters trying to sniff out what really happened.
Nevertheless, this is an enjoyable drama. Those who enjoy old-fashioned thrillers and mysteries will want to check it out.
I will say my only issue with it is that it's rather remote and cold due to not having memorable supporting characters-- while you don't want to see Margot get hanged, she isn't the most interesting character and she's very passive, nothing more than a pawn in this game. Neither Inspector Hubbard or Max end up being as charismatic as Tony either. For this reason, the second half of the play isn't as compelling as the first since it focuses more on these lesser characters trying to sniff out what really happened.
Nevertheless, this is an enjoyable drama. Those who enjoy old-fashioned thrillers and mysteries will want to check it out.
April 5, 2025
This is a classic murder mystery that was turned into a well-known film by Alfred Hitchcock. However, it is not an ordinary murder mystery. This is not a whodunit, or even a why-dunit. The tension comes from how, or even if, a killer can be caught who appears to have pulled off the perfect crime. Knott considers the plot from every angle, so it is air-tight when it comes to how the "killer" may be caught. The "killer", whose identity the audience knows from the beginning, is also quick to think on his feet, and manages to explain away several tricky situations that you think will trip him up. With only five characters in the play, each character is well utilised and given a distinct voice that serves the plot while giving them each an identity in their own right. The dialogue is also good and written by someone with consideration of how it will be delivered by the actor.
July 17, 2023
📙This script of the play was published in 1952.
🖋️ Book review: I need to read.
🔵 The e-book version of Dial M for Murder can be found on Internet Archive.
🎥 1954 movie version with Ray Milland, Robert Cummings, and Grace Kelly.
🖊 Movie review: While the mystery story was presented well, it did get confusing for a moment with the conundrum of the key; it fell flat with me.
📙+🎥 = 🖊 Comparing short story to movie: To be written when I read the play script.
📽 ●▬● 📙 ●▬● 📽
🖋️ Book review: I need to read.
🔵 The e-book version of Dial M for Murder can be found on Internet Archive.
🎥 1954 movie version with Ray Milland, Robert Cummings, and Grace Kelly.
🖊 Movie review: While the mystery story was presented well, it did get confusing for a moment with the conundrum of the key; it fell flat with me.
📙+🎥 = 🖊 Comparing short story to movie: To be written when I read the play script.
📽 ●▬● 📙 ●▬● 📽
May 6, 2023
I'm working through an anthology of murder mystery/thriller plays. This was the next one. I found this one strange. The villain is a husband who has made super detailed and careful plans to have his wife murdered by a hit man. But then the murder doesn't have properly and she lives. I think we are supposed to be sympathizing/cheering for the wife, but we are introduced to her in the situation of her talking to the man she was having a long term affair with (which is part of why her husband wants her dead,) so she doesn't have the moral high ground. I was kind of disappointed that all the husband's hard work and planning hadn't worked out.
September 14, 2019
I re-read this classic play (which was the basis for the 1954 film directed by Alfred Hitchcock) because I had opportunity to star in a production of it in FL in the lead role of Tony Wendice.
The premise is familiar --- but brilliantly detailed. Former UK tennis-pro, Tony, plots to have his wife murdered so that he can both collect on her inheritance as well as getting revenge for an affair she had with an American Crime Fiction writer. When Plan A fails, Tony cunningly goes straight into Plan B and only a shrewd British Detective is able to foil his plans.
Highly recommended!
The premise is familiar --- but brilliantly detailed. Former UK tennis-pro, Tony, plots to have his wife murdered so that he can both collect on her inheritance as well as getting revenge for an affair she had with an American Crime Fiction writer. When Plan A fails, Tony cunningly goes straight into Plan B and only a shrewd British Detective is able to foil his plans.
Highly recommended!
August 28, 2024
In Frederick Knott’s Dial M for Murder (1952), Wendice (see the logline above) plans to inherit the fortune of his rich wife Margot, who allegedly has an affair with a crime fiction writer. Wendice hires an old college friend, now a con man with a criminal record. His plan to possess Margot’s fortune is seemingly simple but just a small, significant miscalculation changes the results of his intended plot. Events in Dial M for Murder develop by cunning symbolism that addresses the smart readers’ critical thinking. Just read the play to see it for yourself!
June 23, 2022
A rather wordy 3 Act play in which the villain is hoist by his own petard. If you try to blackmail a former school acquaintance and petty criminal to murder your wife and it goes wrong, don’t expect everything to go to plan thereafter. The play has legs, but there’s a lot of fairly tedious procedural stuff in Act 2.
April 18, 2024
A pretty creaky and dated thriller, it has a great part for a strong actor who can play sinister and smarmy charm. But the story is clunky and some things just don't add up. The whole business with the keys seems thin in the extreme and it seems like it would play very exposition heavy and leaden on stage.
December 27, 2023
I've seen this as a play, heard it on old time radio, and read the book. It is a good story, but the old time radio show with the suspenseful music and amazing sound effects make this even more sinister than reading it directly.
August 26, 2024
Interesting read, considering it was in a play format.
I thought this was written by Alfred Hitchcock, but I believe he directed the movie and Frederick Knott wrote the play.
Either way , I liked the read and the movie.
Until my next review....
Happy Reading 📚!!!!
Ciao💋
I thought this was written by Alfred Hitchcock, but I believe he directed the movie and Frederick Knott wrote the play.
Either way , I liked the read and the movie.
Until my next review....
Happy Reading 📚!!!!
Ciao💋
March 28, 2025
A very fun, twisting, turning murder mystery. This update actually makes more sense than the original. Now that I have read the drama, I really do like the character of Maxine and that she is a strong female character who truly the smartest person in the room.
July 26, 2017
My kind of book a mystery and a play Perfection
September 22, 2018
Simply brilliant 😍
October 14, 2019
I hate how weak the female character is written but it's a fine, fun little thriller.
November 13, 2019
A satisfying read for the evening. I think I would like it even better on stage, but that is what it's written for so I can't fault the script for that.
November 1, 2021
Love it!!! It's been one of my favorite movies for a long time. Very few differences.
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