A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to break up an international Russian spy ring.
The police find the actress, Diana Baring, near the body of her friend. All the circumstantial proofs seems to point to her and, at the end of the trial, she is condemned. Sir John Menier, a jury member, suspects Diana's boyfriend, who works as an acrobat wearing a dresses. Written by
Claudio Sandrini <email@example.com>
The scene where Sir John thinks out loud in front of a mirror had to be filmed with a recording of the lines and a thirty piece orchestra hidden behind the set as it was not possible to post-dub the soundtrack later. See more »
When Sir John interviews Diana in jail, they are shown sitting at opposite ends of a table in long-shot. The widths of the planks that make up the tabletop reveal that, in closeups, they are both seated at the same end of the table. See more »
People ought to be ashamed of themselves, kicking up all that racket at this time of night.
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Hitchcock himself liked this film, mainly because of certain innovations contained in it; the use of a stream-of-consciousness voice-over, for example. There are some scenes and shots that make MURDER worth seeing, but I must say that this film moves extremely slowly. One reason is the sometimes nearly unbearable amount of space between spoken lines. I understand that Hitchcock was experimenting with improvisation of dialogue, and the result was a movie that drags.
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