Hitchcock's 1930 Whodunit, Murder!: Is it Worth Your Time?

Alright, so *Murder!* from 1930. If you’re a big Hitchcock person, or just really into how movies figured out sound back then, you absolutely gotta check this out. For anyone else, especially folks used to today's fast edits and slick visuals, it might feel a bit… *stiff* sometimes. People who need constant action or super modern dialogue might find it a drag. But for a specific kind of film fan, it’s really something.

The premise is neat: a jury convicts a young actress, Diana Baring (Norah Baring), for killing a fellow actor. But one juror, Sir John Menier (Herbert Marshall), just can’t shake the feeling they got it wrong. So he sets out to find the real killer, pretty much on his own. It’s a bold move for a juror, I guess.

One of the first things that jumps out is that famous scene with Sir John shaving. All those voices in his head, arguing with each other. For 1930, that kind of internal monologue, a character’s thoughts laid bare with multiple voice tracks, was *wildly* experimental. It really works, too; you feel his torment.

The pacing, yeah, it ambles a bit. But that's part of the charm, watching these characters *really* talk through things. Even if it feels a bit like a stage play sometimes, which makes sense given its origins.

Norah Baring as Diana, the accused, she’s got this quiet intensity. You feel her fear and confusion, even when the dialogue isn't always giving her much to work with. There’s a scene where she’s just staring, and you can practically hear her mind racing.

And Hitch himself! Just a blink-and-you-miss-it walk past, carrying a dog. Classic Hitchcock cameo, already doing his thing. 🐶

The whole troupe of actors, their personalities are kinda *large*. It feels very much like a play translated to screen, which it was, based on a novel by Clemence Dane. The way they talk about 'theatre folk' like they’re some exotic species is kinda funny, a bit old-fashioned, but charming.

But the real standout performance, for me anyway, is Esme Percy as Handel Fane. Such an interesting, tragic figure. The whole *cross-dressing* aspect is handled… well, for 1930, it’s pretty bold, though the subtext about his identity feels pretty heavy-handed now. Still, his anguish feels very real.

The early sound mixing is a trip. Sometimes a whisper sounds like a shout, then a shout is muffled. You gotta lean in sometimes, really concentrate. It’s part of the experience, honestly, seeing how they were figuring it all out.

There’s a moment where Sir John goes undercover, joining the acting troupe himself. It’s a bit silly, honestly, how quickly he gets in. But it allows for some interesting character interactions and a peek behind the curtain of their lives.

The climax in the circus tent, it’s quite atmospheric. The shadows, the tension building, it’s pure Hitchcock. He knew how to build suspense even with limited tech.

The ending, it’s not exactly a huge shocker. But the journey Sir John takes, that’s where the film gets you. His moral struggle, the idea of justice, it all sticks with you.

Didja notice?

• The way they announce the jurors’ names, so formal!
• The actress playing Diana looks genuinely terrified in some scenes.
• The constant smoking. Everyone, everywhere. 🚬
• Sir John's friends are kinda useless, bless their hearts.
• The quick cuts during the shaving scene are actually really effective for the time.
• The music sometimes feels a bit… much. Like it’s trying to tell you *exactly* how to feel.
• The police just sort of shrug when Sir John decides to investigate. Different times, I guess.
• The camera moves quite a bit for such an early talkie, not just locked down.

Overall, *Murder!* isn't his flashiest work, but it’s a crucial step in Hitchcock’s career. It shows him wrestling with sound, character psychology, and the kind of moral dilemmas he’d explore again and again. It’s a solid watch for classic film enthusiasts, just go in knowing you’re stepping back in time a bit. Worth it for those little glimmers of genius.