Alfred Hitchcock's "Murder!"
When we think of Alfred Hitchcock, we often associate him with his iconic films like "Psycho," "Rear Window," or "Vertigo." However, Hitchcock's filmmaking journey began long before these classics, and "Murder!" stands as one of his early cinematic endeavors. Released in 1930, it's fascinating to see the master of suspense at an earlier stage in his career.
Beware of Spoilers!
The film kicks off appropriately with a murder – the murder of Edna Druce, an actress from a third-rate theater troupe. The prime suspect? Diana Baring (played by Norah Baring), who was found in a daze beside the lifeless body, with the murder weapon nearby. Case closed, right?
Well, not according to Sir John Menier, a brilliant actor who smells something fishy in this seemingly straightforward case. In a classic Hitchcockian twist, he becomes convinced that Diana couldn't possibly be the murderer. Thus begins our journey into the mind of an actor who thinks he can solve crimes, a premise that Hitchcock brilliantly explores.
Of course, Sir John's fellow jurors coerce him into a guilty verdict, but he can't resist digging deeper. He joins forces with Ted, the stage manager, and Ted's actress wife, Doucie, to unravel the mystery further.
Their investigative skills leave much to be desired, and despite the film's attempt to present their discoveries as clues, some of their methods seem far from effective.
The Unconventional Investigation
As the trio stumbles through their investigation, they arrive at the conclusion that Handel Fane the gay-coded, biracial man, is the true murderer. Their reasoning appears to hinge more on intuition than concrete evidence. Their plan to trick Handel into confessing through more acting ultimately backfires when Handel takes his own life.
Hitchcock's Early Brilliance
Despite the unconventional storyline and sometimes questionable detective work, "Murder!" showcases Hitchcock's early brilliance. The tension and shock in the opening scene, the suspenseful finale, and Herbert Marshall's excellent portrayal of Sir John Menier all echo elements that would become quintessential in Hitchcock's later works.
The film also has its humorous moments, particularly in the interactions between Ted, Doucie, and Sir John. The soup-eating scene, where they awkwardly use tiny spoons, provides a hilarious yet subtle commentary on their class differences.
While "Murder!" isn't primarily a comedy, these moments demonstrate Hitchcock's ability to infuse humor into his films, which, in this case, worked exceptionally well.
A Note on Representation
It's crucial to acknowledge the representation of Handel Fane, played by Esme Percy, in "Murder!" The character is clearly gay-coded, which was not uncommon in films of the era. Hitchcock's use of such coding and tropes is evident in other films like "Strangers on a Train" and "Rope." While it reflects the attitudes of the time, it's important to recognize and discuss these aspects in the context of LGBTQ+ representation in cinema.
For a deeper exploration of this topic, you may want to check out James Somerton's video titled "The Golden Age of Queer Coding," which delves into LGBTQ+ representation in classic films.
In conclusion, "Murder!" may not be as refined as Hitchcock's later masterpieces, but it offers a fascinating glimpse into the early stages of his career. It's a blend of suspense, humor, and quirky detective work that keeps you engaged from start to finish, leaving you curious about Hitchcock's evolving cinematic journey.
