Flat-broke Ray Milland, jealous of rich wife Grace Kelly’s friendship with Robert Cummings, plans the perfect murder. Despite a pair of errant scissors, things look good ... until the arrival of Inspector John Williams. This was Cummings’ second film for director Alfred Hitchcock after the under-appreciated Saboteur a dozen years earlier. Kelly became the director’s favorite blonde, as evidenced, in quick succession, by Rear Window (1954) and To Catch A Thief (1955), before she retired from the screen upon becoming Princess Grace of Monaco in 1956. Based on the classic stage thriller by Frederick Knott (Wait Until Dark), Dial M for Murder has an ingenious plot, a gloriously slimy villain and - thanks to the fact that the action mostly takes place in one room - some of the most cunning camera work of Hitchcock’s career. 3-D turns the viewer into a voyeuristic accomplice.