This 1930 drama was an early field day for Alfred Hitchcock and his evolving ideas about the blurring of opposites: reality and illusion, guilt and innocence, observing and doing, men and women. A rare whodunit in the director's canon, the story of Murder finds a stage actress (Norah Baring) convicted of murdering a female friend. Herbert Marshall stars as a veteran theatre actor and, coincidentally, member of the jury who has grave doubts about the verdict and decides to investigate the crime on his own. His efforts lead him through a world with which he is sufficiently... familiar--that of backstage intrigues--and toward what some critics have charged is an unfortunate link between villainy and a gay stereotype. But that limited critique completely misses the playful overlapping of faulty perceptions invited by this movie, in which Hitchcock deliberately confuses us at times about whether the action we're seeing is real or occurring on a stage. Even when the distinction is obvious, thematic echoes bounce wildly between the two, such as an early scene in which policemen observing a play don't realise the solution to the real murder is weirdly foretold in what they're watching. --Tom Keogh [show more]
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