Despite Hitchcock’s claim that he simply transferred a successful play to the screen, Dial M shows Hitchcock’s gift for using subtle elements of the set design to mirror the interpersonal dynamics. The lovers sit amid flowers (in vases, inlaid on a cabinet, on the upholstery, in a splashy still-life) in the background and foreground, while Tony’s scenes draw the eye to the shelves of trophies from his tennis career, those trophies echoed in the shapes of lamps and vases throughout the set, in the carved backs of wooden chairs and the swooping curves of his wing chair, and again in the headboard of the bed prominently foregrounded in the last act.
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