Murder (film)

Murder ( Murder! ) is an English film carried out in 1930 by Alfred Hitchcock.

Synopsis

John Menier, dramatic actor of reputation, takes part as sworn in the sentence for murder of a young actress (Diana Baring) of which it ends however up doubting the culpability. With the assistance of two actors to unemployment, he then undertakes to lead his own investigation…

Data sheet

Title: Murder
original Title: Murder!
Realizer: Alfred Hitchcock
Original screenplay: Alma Reville, Walter C. Mycroft, Alfred Hitchcock according to the news Enter Sir John of Clemence Dane and Helen Simpson
Producing: John Maxwell
Music: John Reynders
Photography: Jack E. Cox
Decorations: John Mead
Assembly: Rene Marrison
Country of origin: England
Format: Black and white - 1,20:1 - Mono - 35 mm
Kind: Police officer
Lasted: 98 minutes
Comings out date: 1930

Distribution

Herbert Marshall: John Menier
Norah Baring: Diana Baring
Phyllis Konstam: Ground down Markham
Edward Chapman: Ted Markham
Miles Mander: Gordon Druce
Esme Percy: Handel Fades
Donald Calthrop: Ion Stewart
Esme V. Chaplin: Lawyer left civil
Amy Torch Thomas: Defense counsel
Joynson Powell: The judge
S.J. Warmington: Bennett
Marie Wright: Miss Mitcham
Hannah Jones: Mrs. Didsome
Una O'Connor : Mrs. Grogram
R.E. Jeffrey: Chief of the jury

Around film

Meurtre is the third experiment of Alfred Hitchcock with speaking. The realizer who seeks himself and did not assert himself yet as a Master of the suspense continues in the vein of the police film which the public seems to better answer.
the film is built on the basis of “whodunit” (deployment of an investigation leading to final to the revelation of a culprit), kind in which the realizer does not believe because in contradiction with the mechanics of the suspense, and which it thus dispatches by pointing his culprit prematurely.
Hitchcock continues its work on the pure cinema. The sophistication of the play on the shades (those of the framework of the windows in the rising cell or that of the bracket), the complex movements of apparatus, the axes of camera and the inserts symbolic systems (the wind vane) clean with the German cinema and of Northern Europe recalls us that the realizer made his ranges with UFA.
Of the pure cinema, it continues to borrow the play of the visual illustrations of the interiorized feelings (the Cockney young person which discovering the luxury is inserted exaggeratedly in the marrowy carpet, giddiness of the trapezist whose camera follows swinging). But it also continues to invent the talking films while working enormously on the sound. The most memorable example is the scene of the interior dialog in front of the mirror for which Hitchcock, for which one did not invent yet the techniques of the mixing and the postsynchronization, makes exploit its actor a recording of his own voice tended that the music is produced by an orchestra placed behind the decorations. It also employs in a repeated way the sound except fields.
Some attempts at improvisation (the myth of “film on paper” is not yet to defend) are led but considered to be nonconclusive.
With Herbert Marshall (to which the charisma can be close to that of a George Sanders), Hitchcock finds finally an actor whose refinement, depth of play and direction of the irony are capable to incarnate its cinema. He will employ again Marshall in Corresponding 17 and several episodes of the series Alfred Hitchcock presents .
Meurtre is historically considered one of the first significant representations of homosexuality in the English cinema. The alibi of the camouflage of a ashamed interbreeding simply recovering according to some that of the ashamed homosexuality of one of the main characters, disguised trapezist. The film is one of the first notable illustrations of the reports/ratios complex and contained that Hitchcock maintains with sexuality.
Other topics properly hitchcockiens, those of the reports/ratios of classes and that of justice that the realizer treats here with the humor of which it can particularly use during his English period.
Caméo : to the 60ième minute, passes in front of the house of the murder.
Hitchcock carries out simultaneously a version in German language film ( Mary ) (undertaken sometimes led to the beginning of speaking to ensure the exploitation of films abroad), in the same decorations but with a distribution different and by modifying some from its artistic choices.

External bonds

'' Meurtre '' in IMDb
'' Meurtre in Allociné
Outline of analysis Extracted

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