Every detail of this film that caught my attention has its foreshadowing value. Every so-called loophole I questioned ended up justifying itself. Everywhere I thought would be an ending or a climax there was a reversal. As with other Hitchcock works, I always have to go back to previous clips to confirm the details and relive some of the plot. It's wonderful, indescribably wonderful.
I was completely stunned at the beginning of the male protagonist's operation of adjusting the crime scene, but then I suddenly guessed it was really cool. It was a sense of audience participation that the recent crime-solving film did not have. The big reversal is that Tony Pharaoh almost made up a story item that is 90% similar to the truth, asking the male protagonist to save the female protagonist. I really think this character is awesome. When you thought the plot would stretch in a direction that would not be so embarrassing to anyone, the biggest flip unfolded in a confusing way in the last few minutes, unpredictable, and anticipating, so every second that passed had the audience Struggle and longing!
At first I thought that since "success is the key, and defeat is the key", this film should be called "The Psycho with the Keys". Later, I read the English title called "Dial M for Murder", and suddenly remembered that when the male protagonist made a phone call at the hotel as an opportunity to let the murderer start, the phone dial was close-up, and there were big M and N on the number six. Like the Dial O with the Operator operator, the director used an M to map murder. Now that I think about it, it is indeed because the call came in for a few minutes, which led to the problem of key placement, which caused the male lead to make mistakes in handling it.
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