A hubby frames his wife for the murder of the human he'd hired to impale her.

Film Details

MPAA Rating

Genre

Suspense/Mystery

Adaptation

Classic Hollywood

Crime

Drama

Thriller

Release Date

May 29, 1954

Premiere Information

New York premiere: 28 May 1954

Product Company

Warner Bros. Pictures, Inc.

Distribution Visitor

Warner Bros. Pictures, Inc.

Country

United States

Location

New York City, New York, USA; New Jersey, USA

Screenplay Information

Based on the play Dial One thousand for Murder by Frederick Knott (London, xix Jun 1952).

Technical Specs

Duration

1h 45m

Sound

Mono (RCA Sound Organisation)

Color

Colour (Warnercolor)

Theatrical Aspect Ratio

1.37 : 1

Synopsis

In her London apartment, wealthy Margot Wendice discusses with her American ex-lover, Mark Halliday, why she changed her mind about leaving her husband Tony. Several months ago, she explains, Tony suddenly became more appreciating and now, convinced that he cares for her, she plans to remain loyal, despite her dearest for Mark. Wanting a fresh start in her marriage, she is concerned about an anonymous blackmailer who stole a letter of the alphabet Marking wrote to her, but never picked up the coin she paid or returned the alphabetic character. When Tony, a former tennis professional-turned-salesman, comes home, he announces that unexpected business matters have pre-empted their evening plans, but encourages Mark and Margot to get out without him. In alleviation, he invites Mark to his guild's feast that will be held the following evening. Later on they go out, Tony calls Capt. Lesgate, feigning interest in a car the man is selling. After manipulating him into meeting at the apartment to negotiate, Tony surprises Lesgate by revealing that they are one-time Oxford schoolmates and that he is aware of several illegal activities in which the small-time cheat has been involved. Intimating that he married for money, Tony tells Lesgate that he stole Margot's letter and blackmailed her to ostend her thing with Mark. Anticipating that she will leave him, Tony wants Margot killed before she takes off with her wealth, and blackmails Lesgate into agreeing to do the killing. As further enticement, Tony promises to pay Lesgate with money that he has been surreptitiously amassing through small bank withdrawals over the by year. Equally his reputation is spotless, Tony warns Lesgate that attempting to report his suggestion to the police will backfire. Later on Lesgate agrees to cooperate, Tony unveils his elaborate plan: On the following evening, while Tony and Mark nourish the feast, Lesgate is to lookout the apartment and when Margot retires, enter using Margot's own firm key, which Tony plans to sneak out of her bag and put under the stairway carpet outside their door. At a specified fourth dimension, Tony volition phone call, and when Margot gets upward to answer, Lesgate, who volition exist hiding backside drapes near the telephone, is to strangle her. When the deed is done, Lesgate is to whistle into the telephone and hang up. Before leaving, he is to leave the garden window open and replace the key under the stairway carpet. The next evening, while chatting over cocktails, Tony's involvement is piqued when Mark, who is a television mystery writer, claims that, although he can write the "perfect murder," in existent life he would overlook some particular and be caught. Before he and Mark leave for the order, Tony gets the key from Margot'south handbag and manipulates her into staying domicile to prune articles for his scrapbook. At the club, Tony excuses himself from the table, saying he must call his dominate, only instead calls home. Meanwhile, after Lesgate has unlocked the apartment door and returned the key to its hiding place, he waits inside the night apartment. When Margot gets upwardly to answer the phone, Lesgate tries to strangle her with a stocking, but she struggles and stabs him in the dorsum with a pair of pair of scissors that she used to clip Tony's articles. Lesgate falls on the scissors and dies. Tony, on the other end of the phone line, hearing his plans go awry, speedily contrives a dissimilar fashion to accomplish his goal. He talks into the telephone and the shaken Margot, recognizing his voice, tells him what happened. Afterwards telling her that he will call the police, Tony immediately goes home. Later on, at the apartment, while pretending to "protect" Margot from police questioning, he sneaks the key in Lesgate's pocket into Margot'south bag and leaves the love letter where law notice information technology. Other evidence indicates that Lesgate did not come in through the garden window, and then Inspector Hubbard, who is in charge of the example, concludes that Margot let in and killed Lesgate, who was blackmailing her. Although Hubbard finds it odd that no key is found on Lesgate's body, Margot is arrested, tried and sentenced to death. Tony, while waiting to inherit her fortune, begins paying his bills with the cash meant for Lesgate. On the day before Margot's scheduled execution, Mark shows up at the apartment urging Tony to invent a story to save Margot'due south life. Equally an example, Mark suggests that Tony "confess" that he hired Lesgate to kill Margot, but that she killed her attacker in self-defense. Tony would be safe from prosecution, Mark says, every bit he could not exist convicted for an uncommitted criminal offense. Tony refuses, proverb the police would never believe such a story. When Hubbard unexpectedly shows up, Mark hides in the bedroom. While he overhears the inspector ask most the large amounts of bandage Tony appears to have on hand, Mark finds the briefcase of money that was meant to pay off Lesgate. With briefcase in paw, Mark confronts Tony in forepart of Hubbard, only Tony dismisses Mark's and Hubbard'due south questions past claiming that the briefcase contains Margot's payoff to Lesgate, which he concealed to hide her guilt. Earlier leaving, Hubbard reminds Tony to collect Margot'southward belongings at the law station then secretly exchanges his own raincoat for Tony's. Later, when the apartment is vacant, Hubbard enters with Tony's key, followed by Mark. Plainclothesmen bring Margot to the apartment and show her in when she is unable to enter using the primal in her pocketbook. Equally they look, Hubbard intimates that he needs proof of his suspicions about Tony and has his men return Margot's pocketbook to the station. Later, Tony arrives, but has no cardinal to get in. At present aware that he has the wrong raincoat, he proceeds to the police station and afterward returns with Margot's effects, including her bag. When he once more fails to open the door, this time using Margot's key, Tony realizes that the primal he took from Lesgate'due south pocket on the dark of the attempted murder was the expressionless man'south own, so he checks under the stairway carpeting, retrieves the key he took from Margot'due south handbag and unlocks the door. Upon finding Hubbard, Mark and Margot waiting inside, Tony acknowledges that his scheme failed and congratulates Hubbard for correctly solving the case.

Crew

Film Details

MPAA Rating

Genre

Suspense/Mystery

Adaptation

Classic Hollywood

Crime

Drama

Thriller

Release Date

May 29, 1954

Premiere Information

New York premiere: 28 May 1954

Product Visitor

Warner Bros. Pictures, Inc.

Distribution Company

Warner Bros. Pictures, Inc.

Country

U.s.

Location

New York City, New York, USA; New Bailiwick of jersey, USA

Screenplay Information

Based on the play Punch Thou for Murder by Frederick Knott (London, xix Jun 1952).

Technical Specs

Duration

1h 45m

Sound

Mono (RCA Sound System)

Color

Color (Warnercolor)

Theatrical Attribute Ratio

ane.37 : 1

Articles

Dial M for Murder

Tony Wendice (Ray Milland), a callous playboy who has married well, begins to worry when his wealthy wife, Margot (Grace Kelly), begins an matter with an American writer (Robert Cummings). Sensing a threat to his fiscal security, Tony plots to murder Margot for her inheritance and proceeds to bribery a former associate into doing the dingy human activity. Of course, things don't work out as Tony planned and therein lies the fun of Punch M For Murder (1954), Alfred Hitchcock'south masterful moving-picture show version of the popular Frederick Knott phase play.

A film with a couple of "firsts" for Hitchcock, Dial One thousand For Murder marked the beginning of the director's collaboration with blonde actress Grace Kelly (They made three films together including Rear Window (1954) and To Catch a Thief (1955). It was too the start and only fourth dimension he filmed a movie in the 3-D format, a visual process that required special spectacles to view the film. 3-D movies were a popular fad in the early fifties and studio caput Jack Warner ordered Hitchcock to picture show Dial M For Murder using this new stereoscopic technique. Despite the immense problem Hitchcock had in using this cumbersome process (The 3-D camera was reportedly equally big as a star's "dressing room"), Dial Thou For Murder was eventually released to movie theatres in a "flat" version only y'all can still run across evidence of the technique in such scenes equally the famous scissors murder.

Although Hitchcock often said he had no real personal interest in Dial M For Murder and simply considered it a standard contract job, he, nevertheless, transformed information technology from a routine murder mystery into a tense psychological thriller by exploiting the claustrophobic setting of the Wendice's flat. In an interview with Francois Truffaut, Hitchcock later on recalled: "In Punch M For Murder, I did my best to avoid going outside. It happened simply ii or three times, when the inspector had to verify something, and and then, very briefly. Leven had the floor made of real tiles then as to get the audio of the footsteps. In other words, what I did was to emphasize the theatrical aspects." He also found ways to express the psychological state of the jeopardized married woman, adding, "We did an interesting color experiment with Grace Kelly'south clothing. I dressed her in very gay and bright colors at the beginning of the motion picture, and as the plot thickened, her clothes became gradually more somber."

In The Nighttime Side of Genius: The Life of Alfred Hitchcock by Donald Spoto, Grace Kelly confirmed Hitchcock's specific wardrobe requests: "He wanted to brand a fancy velvet robe for me. He said he wanted the event of lite and shadow on velvet for the murder scene at the desk. I was very unhappy about it, and I told him I didn't think it was right for the part. He said he wanted a item effect, but I said, "I don't think that this woman is going to put on this great fancy robe if she is getting upward in the heart of the night to answer a ringing telephone and there's nobody in the flat." And he said, "Well, what would you do? What would yous put on to answer the phone?" I said I wouldn't put on anything at all, that I'd just get up and become to the phone in my nightgown. And he admitted that was improve, and that'southward the way it was washed."

There were other details to which the director practical his exacting standards. He personally selected the props for the set including the Wedgwood and Staffordshire figurines for the mantel and supervised the construction of a giant telephone dial with an enormous wooden effigy for the extreme close-upwardly shot in the picture's credit sequence. As for the cardinal murder scene, Hitchcock lost almost 20 pounds from nervous feet, trying to get it right in take afterward have. Afterward one rehearsal, he said, "This is nicely washed merely there wasn't enough gleam to the scissors, and a murder without gleaming pair of scissors is like asparagus without the hollandaise sauce - tasteless." A few terminal notes on Punch Thousand For Murder: Look closely and you tin spot Hitchcock's standard cameo appearance in a cardinal scene in the Wendice'due south apartment; he can be glimpsed in a photo of Tony'due south. Punch M For Murder would go on to inspire 2 remakes - a 1981 telly pic with Angie Dickinson and Christopher Plummer and A Perfect Murder (1998) starring Michael Douglas and Gwyneth Paltrow.

Producer/Director: Alfred Hitchcock
Screenplay: Frederick Knott
Cinematography: Robert Burks
Costume Pattern: Edward Carrere
Picture show Editing: Rudi Fehr
Original Music: Dimitri Tiomkin
Principal Bandage: Ray Milland (Tony Wendice), Grace Kelly (Margot Mary Wendice), Robert Cummings (Mark Halliday), Anthony Dawson (C.A. Swan/Captain Lesgate), Leo Britt (The Storyteller).
C-106m. Airtight captioning.

past Jeff Stafford

Dial M For Murder

Punch M for Murder

Tony Wendice (Ray Milland), a callous playboy who has married well, begins to worry when his wealthy wife, Margot (Grace Kelly), begins an matter with an American author (Robert Cummings). Sensing a threat to his financial security, Tony plots to murder Margot for her inheritance and gain to bribery a erstwhile associate into doing the dirty deed. Of course, things don't work out every bit Tony planned and therein lies the fun of Dial M For Murder (1954), Alfred Hitchcock's masterful film version of the pop Frederick Knott stage play. A picture with a couple of "firsts" for Hitchcock, Punch Thou For Murder marked the beginning of the director's collaboration with blonde actress Grace Kelly (They fabricated three films together including Rear Window (1954) and To Catch a Thief (1955). It was also the first and just time he filmed a movie in the iii-D format, a visual process that required special spectacles to view the film. three-D movies were a popular fad in the early fifties and studio head Jack Warner ordered Hitchcock to film Dial Thou For Murder using this new stereoscopic technique. Despite the immense trouble Hitchcock had in using this cumbersome procedure (The 3-D camera was reportedly equally large every bit a star's "dressing room"), Dial Thou For Murder was eventually released to movie theatres in a "apartment" version simply y'all can even so see evidence of the technique in such scenes as the famous pair of scissors murder. Although Hitchcock oft said he had no existent personal interest in Punch M For Murder and simply considered information technology a standard contract job, he, nevertheless, transformed information technology from a routine murder mystery into a tense psychological thriller by exploiting the claustrophobic setting of the Wendice'southward apartment. In an interview with Francois Truffaut, Hitchcock later recalled: "In Dial M For Murder, I did my all-time to avoid going outside. It happened only ii or three times, when the inspector had to verify something, and then, very briefly. Leven had the floor made of real tiles and then equally to get the sound of the footsteps. In other words, what I did was to emphasize the theatrical aspects." He too found ways to limited the psychological state of the jeopardized married woman, adding, "Nosotros did an interesting colour experiment with Grace Kelly's clothing. I dressed her in very gay and bright colors at the beginning of the moving-picture show, and every bit the plot thickened, her clothes became gradually more than somber." In The Dark Side of Genius: The Life of Alfred Hitchcock by Donald Spoto, Grace Kelly confirmed Hitchcock's specific wardrobe requests: "He wanted to make a fancy velvet robe for me. He said he wanted the effect of calorie-free and shadow on velvet for the murder scene at the desk-bound. I was very unhappy about it, and I told him I didn't think it was right for the part. He said he wanted a detail effect, but I said, "I don't retrieve that this adult female is going to put on this corking fancy robe if she is getting up in the middle of the night to answer a ringing phone and there'southward nobody in the apartment." And he said, "Well, what would y'all do? What would you put on to reply the phone?" I said I wouldn't put on annihilation at all, that I'd just get upwardly and go to the phone in my nightgown. And he admitted that was better, and that's the way it was done." At that place were other details to which the director applied his exacting standards. He personally selected the props for the set including the Wedgwood and Staffordshire figurines for the mantel and supervised the structure of a giant telephone punch with an enormous wooden effigy for the extreme close-upwardly shot in the film'south credit sequence. As for the key murder scene, Hitchcock lost almost twenty pounds from nervous anxiety, trying to become information technology right in accept after take. After one rehearsal, he said, "This is nicely done but there wasn't plenty gleam to the pair of scissors, and a murder without gleaming pair of scissors is like asparagus without the hollandaise sauce - tasteless." A few final notes on Dial M For Murder: Await closely and you can spot Hitchcock's standard cameo appearance in a central scene in the Wendice's apartment; he can be glimpsed in a photo of Tony'due south. Punch M For Murder would go on to inspire two remakes - a 1981 television movie with Angie Dickinson and Christopher Plummer and A Perfect Murder (1998) starring Michael Douglas and Gwyneth Paltrow. Producer/Managing director: Alfred Hitchcock Screenplay: Frederick Knott Cinematography: Robert Burks Costume Design: Edward Carrere Flick Editing: Rudi Fehr Original Music: Dimitri Tiomkin Master Cast: Ray Milland (Tony Wendice), Grace Kelly (Margot Mary Wendice), Robert Cummings (Mark Halliday), Anthony Dawson (C.A. Swan/Helm Lesgate), Leo Britt (The Storyteller). C-106m. Closed captioning. by Jeff Stafford

Dial M for Murder in iii-D!

Dial M FOR MURDER (1954), the classic Hitchcock thriller starring Grace Kelly and Ray Milland, will exist shown in its original NaturalVision three-D for a one-week, 50th Anniversary engagement from Friday, January 2 through Thursday, January 8 at Film Forum. Showtimes are daily at i:10, 3:20, v:30, vii:xl and 9:50.

Given only a limited 3-D release upon its opening, Hitchcock's Punch M is rarely seen in its original double-system NaturalVision grade: two projectors synchronized to requite maximum brightness, color and depth. (A three-D reissue in the early on 80s converted the picture to an inferior single-projector process.) Quintessential cool blonde (and Hitchcock favorite) Grace Kelly stars as a society woman for whom jealous husband Ray Milland arranges the perfect murder. But thanks to a well-placed pair of pair of scissors, the tables are turned and Milland's advisedly-laid plans brainstorm to disintegrate.

Hitchcock used a rapid 36-day shooting schedule, and was dismissive of 3-D itself ("A 9-day wonder, and I came in on the 9th day"). He refused to open out the hit play by Frederick Knott (author of another masterpiece of unknown terror, Wait Until Night), confining near of the action to one set up, and setting his cameras in a pit to get low-angle shots designed to emphasize depth and to give the film a theatricality and claustrophobia as in Rope and Rear Window. Only on this stage the proscenium doesn't stop at the screen, it extends into the audience! 3-D is nigh effectively used in the murder sequence, which takes on new and greater significance every bit the viewer is placed in the midst of the struggle: a voyeuristic accomplice to murder equally but Hitchcock could have planned.

Dial M for Murder in iii-D!

Punch 1000 FOR MURDER (1954), the classic Hitchcock thriller starring Grace Kelly and Ray Milland, will be shown in its original NaturalVision iii-D for a i-week, 50th Anniversary engagement from Friday, January 2 through Thursday, January viii at Flick Forum. Showtimes are daily at 1:10, iii:twenty, 5:30, 7:40 and 9:fifty. Given only a express 3-D release upon its opening, Hitchcock'southward Dial Yard is rarely seen in its original double-system NaturalVision course: two projectors synchronized to give maximum brightness, color and depth. (A 3-D reissue in the early on 80s converted the flick to an junior single-projector process.) Quintessential cool blonde (and Hitchcock favorite) Grace Kelly stars as a club adult female for whom jealous husband Ray Milland arranges the perfect murder. But cheers to a well-placed pair of scissors, the tables are turned and Milland'southward advisedly-laid plans brainstorm to atomize. Hitchcock used a rapid 36-24-hour interval shooting schedule, and was dismissive of 3-D itself ("A nine-day wonder, and I came in on the 9th day"). He refused to open up out the hit play by Frederick Knott (author of another masterpiece of unknown terror, Wait Until Nighttime), confining most of the action to i set, and setting his cameras in a pit to get low-angle shots designed to emphasize depth and to give the film a theatricality and claustrophobia as in Rope and Rear Window. Just on this phase the proscenium doesn't stop at the screen, it extends into the audience! 3-D is most effectively used in the murder sequence, which takes on new and greater significance as the viewer is placed in the midst of the struggle: a voyeuristic accomplice to murder as only Hitchcock could have planned.

Quotes

People don't commit murder on credit.

- Tony Wendice

Do y'all actually believe in the perfect murder?

- Tony Wendice

Where's the nearest police station?

- C.A. Swan

Contrary the church about 2 blocks away.

- Tony Wendice

Suppose I walk over there correct at present.

- C.A. Swan

What would you tell them?

- Tony Wendice

Everything.

- C.A. Swan

Smart aren't you?

- C.A. Swan

No, not really. I just had time to retrieve things out. Put myself in your shoes. That'southward why I know yous're going to concord to this.

- Tony Wendice

What makes you lot remember I'll agree?

- C.A. Swan

For the same reason that a donkey with a stick behind him and a carrot in front always goes forwards and never backwards.

- Tony Wendice

Trivia

about thirteen minutes into the film, on the left side of the reunion photograph.

Hitchcock arranged to take 'Kelly, Grace' dressed in bright colors at the start of the pic and made them progressively darker every bit fourth dimension goes on.

Filmed in 3D, which explains the prevalence of depression-angle shots with lamps and other objects between the states and the cast members. There was but a cursory original release in 3D, followed by a conventional, "flat" release; the 3D version was reissued in 1980.

Notes

The opening title bill of fare reads: "Alfred Hitchcock'due south Punch Thou for Murder Color by WarnerColor." According to a June 1953 Diversity article, Sir Alexander Korda saw the BBC-Television set production, Dial M for Murder, and bought the rights for $two,800 shortly before a phase version opened at Westminster Theatre in London in June 1952. He resold the film rights to Warner Bros. for $75,000, with the stipulation that staged versions close prior to the release of the film. Although, co-ordinate to the article, potential producers were leery of backing a Broadway production because of the clause, actor Maurice Evans negotiated an agreement in which Korda got two per centum of the gross of the Broadway stage production, which opened in October 1952, in return for the postponement of the screen version until the fall of 1954. An Apr 1954 Daily Multifariousness news item reported that, because of the agreement, Warner Bros. was forced to postpone multiple city press previews of the film, merely the film had its premiere in belatedly May 1954.
According to the HR review, the screenplay kept the original play's book intact, and as well like the play, activeness occurred almost entirely on one set. But Frederick Knott is credited onscreen for adapting his original play, notwithstanding, Ted Sherdeman is credited on the CBCS for the story. Sherdeman'south contribution to the final film has not been determined. English actor John Williams, who made his movie debut in Dial M for Murder, and Anthony Dawson reprised their Broadway roles for the pic. As noted in an October 1953 New York Times news detail, producer-managing director Hitchcock made his customary cameo appearance in the film past posing as one of the classmates in a school photograph.
Grace Kelly, who critics accept labelled the quintessential Hitchcock blonde, was loaned from M-G-M for the production; Punch Thousand for Murder marked her first collaboration with Hitchcock. In the Fourth dimension review, Hitchcock described Kelly as a "rare thing in movies...fit for any leading-lady function" and expressed that her "youthful," but "non juvenile" advent suggested an intelligence that compared with Ingrid Bergman's. Co-ordinate to a modernistic source, Hitchcock claimed Kelly was the well-nigh cooperative actress he ever directed. She would star in 2 more of his films before her 1956 marriage to Prince Rainier 3 of Monaco, whom she met while filming Hitchcock's To Catch a Thief. According to various news items, Kelly was to star in a fourth Hitchcock film, Marnie (1964), simply her constituents demanded that she abandon interim for more princess-similar pursuits.
Dial Chiliad for Murder was Hitchcock's only venture into Natural Vision, which was a ii-projector version of 3-D. The studio was pushing for more than 3-D films later the success of House of Wax, according to a mod source, and Hitchcock complied, perhaps with reluctance. During the xxx-vi days of filming, he spent a week on the stabbing scene to get the three-dimensional effect he sought, as filming in stereoscope express his ability to exploit camera placement and angles. Mod sources state that Hitchcock wanted a close-up of the "M" on the phone hand punch during the opening credits, simply the special 3-D cameras could not focus that closely. Past the time of the film's release, the 3-D fad was nearing its finish and a May 1954 Multifariousness news item dated 2 days before the New York opening announced that Warner Bros. had inverse their policy previously requiring that offset runs exist shown in 3-D.
Apr 1954 press previews were presented in 3-D, merely the New York Times review reported that information technology was shown flat (or ii-D) at the New York premiere. Although some modern sources advise that the film opened on the West Declension at the Egyptian, a June 1954 pre-opening news detail and the June 1954 ad signal that the Los Angeles opening was held at the Beverly Hills Theatre. A November 1979 Variety article reported that Warner Bros. and Technicolor restored the 3-D WarnerColor version, which they unveiled at the Tiffany Theatre in West Los Angeles.
On April 25, 1956, Anthony Dawson and John Williams reprised their film roles and reunited with Broadway cast member Maurice Evans in an NBC-Goggle box Hallmark Hall of Fame production of Dial M for Murder directed by George Schaefer, in which Rosemary Harris played "Margot." In November 1967, Williams played the role over again in an ABC-Television broadcast directed by John Moxey, which co-starred Laurence Harvey, Diane Cilento and Hugh O'Brien. In 1981, Angie Dickinson and Christopher Plummer starred in a television remake, directed by Boris Sagal. Dial M for Murder was also the inspiration for the 1998 Warner Bros. production, A Perfect Murder, which was directed by Andrew Davis and starred Michael Douglas and Gwyneth Paltrow.

Miscellaneous Notes

Voted All-time Actress (Kelly--shared with her work in "State Girl" and "Rear Window") by the 1954 National Board of Review.

Voted Best Actress (Kelly--shared with her piece of work in "Country Girl" and "Rear Window") past the 1954 New York Moving-picture show Critics Association.

Voted All-time Supporting Histrion (Williams--shared with his piece of work in "Sabrina") by the 1954 National Lath of Review.

Released in Usa 1999

Released in United States November 1991

Released in United States Spring May 1954

Re-released in The states April nine, 1999

Re-released in Us August 1990

Re-released in The states November viii, 1991

Shown at Deauville Festival of American Film September four-13, 1998.

Shown at Venice Film Festival (Nights and Stars) Baronial 26 - September 8, 1998.

Remake of Alfred Hitchcock's "Dial Thousand for Murder" (USA/1954) starring Ray Milland, Grace Kelly, and Robert Cummings.

Released in United States 1999 (The 1999 New York City re-release will besides be shown in double-system iii-D form.)

Re-released in United States April nine, 1999 (Flick Forum; New York City)

Released in United States Jump May 1954

Re-released in United States Baronial 1990 (Los Angeles)

Released in United States November 1991 (For its November 1991 re-release in New York City, the moving-picture show will exist seen in its original double-arrangement NaturalVision form: two projectors synchronized to requite maximum effulgence, color and depth. This is a rare screening of Warner Bros' simply existing double-organisation three-D impress.)

Roger Avary was previously attached to direct.

Began shooting October 14, 1997.

Completed shooting January 13, 1998.

3-D Naturalvision

Re-released in United States November viii, 1991 (along with the 3D Bugs Bunny brusk "Lumber Jacket Rabbit"; New York City)