Whichever side of the modern 3D debate you come down on, it’s fascinating to watch Hitchcock take an early stab at it.
His taut, nasty 1954 thriller, which follows a former tennis pro (Ray Milland) who conspires to have his adulterous wife (Grace Kelly) offed, was shot in 3D but released mostly in 2D due to waning interest in the format.
There’s no such issue today, but with or without the new 3D restoration, this remains a tightly wound psychological parlour game, expanded only slightly from its claustrophobic stage roots.
It’s a lightweight but impeccably clever mystery.
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