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Dear Murderer (1947)

When successful business man Lee Warren suspects his wife is having an affair, he sets out find her lover, kill him, and make it look like suicide. Complications set in, when he finds out ... See full summary »

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Cast

Cast overview, first billed only:
...
...
...
Jack Warner ...
Maxwell Reed ...
Jimmy Martin
...
Avis Fenton
Jane Hylton ...
Rita
Andrew Crawford ...
Sgt. Fox
Charles Rolfe ...
Prison Warder
Hélène Burls ...
Charwoman
Ernest Butcher ...
Hall Porter
Judith Carol ...
American Secretary
Valerie Ward ...
Warren's Secretary
John Blythe ...
Ernie
Vic Hagan ...
American Barman
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Storyline

When successful business man Lee Warren suspects his wife is having an affair, he sets out find her lover, kill him, and make it look like suicide. Complications set in, when he finds out she has another lover as well, so Lee has to change his plans. Written by mike.wilson6@btinternet.com

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Crime | Drama

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Release Date:

23 June 1947 (UK)  »

Also Known As:

Der perfekte Mörder  »

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Aspect Ratio:

1.37 : 1
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Quotes

Lee Warren: I'll try anything once.
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User Reviews

 
A Sympathetic Viper and his Viperish Wife
28 August 2005 | by (United States) – See all my reviews

A day or so ago I commented on the film (made only a few years after wards) that somehow resembles this one: FOOTSTEPS IN THE FOG. The basic story is of two ill-matched people who are in a marriage from hell. FOOTSTEPS was about a Victorian gentleman who murders his first wife, only to be blackmailed into marrying his socially ambitious maid, and how he starts conspiring to get rid of her as well. The problem with FOOTSTEPS was a lack of decently spirited direction. It lacked spark and pace, and gets boring. The cast tries, but it does not help enough.

Not so with DEAR MURDERER. Unlike FOOTSTEPS (which was a Hollywood product - so it had to be burdened by larger budgets, and needed vervier directing), DEAR MURDERER is typical of the success story of British cinema - how with a concentration on minimal effect their films are sharper than bloated productions like FOOTSTEPS . The plot is also more devious.

In FOOTSTEPS Jean Simmons' ambitions help destroy her and Steward Granger. But one can easily understand where she is coming from, as we tend to sympathize with people trying to pull themselves out of lower classes into upper classes. But this is dented because she is a blackmailer (though Granger's misdeed deserves such a punishment). Here, Eric Portman is married to a perpetual flirt (Greta Gynt) who despises him. She has been carrying on with Dennis Price, and Portman decides to kill Price. Yet, even in the process of doing just that, Portman gets to know his victim, and realizes that if he had not been sleeping with his wife Price could have been a good friend of his. So his guilt is increased when he discovers that Gynt and Price had broken up their relationship shortly before the murder.

See: the story is still melodramatic, but the characterization is more interesting. So is the difference regarding Gynt's personae, as opposed to her opposite number in FOOTSTEPS. Simmons is socially ambitions, but the audience can accept that. Gynt is sluttish and also unlikeable. She is tired about the marriage to Portman (who does, misguidedly, love Gynt), and eventually wonders how she can end it - quickly. The film speeds to it's conclusion. If one dislikes Portman's Nazi in 49TH PARALLEL (his best remembered performance), his performance here certainly makes up for his totally unsympathetic villainy there.

I have no problem recommending this film to the readers of these reviews. And of recommending it over FOOTSTEP IN THE FOG to them as well.


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