Early Hitchcock sound film marks transition from silents to peak British period
“Murder!,”  Alfred Hitchcock’s third sound feature, is a whodunit that foreshadows some of the director’s trademark touches. When actress Diana Baring (Norah Baring) is discovered over the recently murdered body of her rival, she sits in shock, claims to have amnesia, and remembers nothing about the murder. Various characters piece together what must have happened. She’s arrested and brought to trial, and the jury finds her guilty. Alone among the jurors, Sir John Menier (Herbert Marshall) is unconvinced but, browbeaten by the others, relents. The verdict of guilty is announced in court as the camera holds on the empty jury room.<br /><br />Sir John, an actor who is also Diana’s former manager, resolves to conduct his own investigation in the hope of exonerating Diana with new evidence and saving her from the gallows. He exercises his actor’s ability to adopt clever disguises when necessary to further his investigation.<br /><br />Those familiar with Hitchcock’s American films will find “Murder!” rough around the edges. The opening is a grabber — a middle-of-the-night scream is heard as the camera tracks past windows to see occupants opening shades and curtains to see what’s happened. When the camera shifts to the scene of the crime, carefully arranged actors look at the dead body. Hitchcock moves from a person staring to a bloody fireplace poker to the silent Diana, all in a single shot. Such fluid camera movement would become one of the director’s most notable cinematic tools. A scene in which two busybodies make tea and gossip has them moving from one room to the next and back again as the camera moves with them in one uninterrupted shot. The jury deliberation scene, on the other hand, is filmed mostly in medium shots with little camera movement, giving it a decidedly theatrical look. Unfortunately, much of the film is shot unimaginatively, with just a few exceptions.<br /><br />In contrast, Hitchcock’s use of sound is quite impressive for such an early picture. A lot of the investigation takes place backstage during a performance, so we hear the police interviewing actors as they enter and exit their scenes. In the background, we hear the muffled voices of the actors delivering their dialogue and the sound of the unseen audience. Another scene is amazing considering how difficult it was to achieve. As Sir John shaves, we see him and his reflection in the mirror as he contemplates Diana’s case. In the background, we hear the prelude to Wagner’s “Tristan and Isolde” and Sir John’s inner thoughts. To accomplish this feat, a live orchestra played off screen and a pre-recording of Herbert Marshall’s dialogue was played back as his character reacted to his own thoughts and the music. This marked the first internal monologue in sound motion pictures.<br /><br />Inspired by “Hamlet,” the movie features a play-within-the-play touch. Sir John is assisted by a pair of associates (Edward Chapman, Phyllis Konstam), who help him stage an elaborate re-enactment of the crime in the hope of uncovering the real murderer. The film might be one of the first pictures to feature a gay character (Esme Percy).<br /><br />The basic plot, of course, is one Hitchcock would return to often — an innocent person caught up in a dangerous situation. In Hitchcock’s American films, such as “Strangers on a Train” and “North by Northwest,” the protagonist is instrumental in extricating himself from peril. The difference here is that Sir John is the character attempting to discover the identity of the real killer. Diana, in jail, can’t do much to help. The film’s finale, under the circus big top, is a welcome departure from the staginess of most of the film and presents a very cinematic climax.<br /><br />There are attempts at humor, which don’t come off that well, unlike the macabre humor that would distinguish many of Hitchcock’s later movies. To Hitchcock completists, the film is transitional, a stepping stone from his silent period to greater British achievements like “The Man Who Knew Too Much” (1934), “Young and Innocent” (1937), and “The Lady Vanishes” (1938). This plodding murder mystery is hardly worthy of its exclamation point.<br /><br />Bonus materials on the Region A Special Edition release include audio commentary; excerpt of an interview of Hitchcock by Francois Truffaut; “Mary” (1931), the German version of “Murder!,” also directed by Hitchcock; special introduction; alternate ending; and several trailers.
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The additional details include the following in key-value format :
 {"MPAA rating": "NR (Not Rated)", "Product Dimensions": "0.7 x 7.5 x 5.4 inches; 5.92 Ounces", "Item model number": "unknown", "Media Format": "NTSC, Subtitled, Anamorphic", "Run time": "1 hour and 42 minutes", "Release date": "August 13, 2019", "Actors": "Herbert Marshall, Norah Baring, Phyllis Konstam", "Studio": "KL Studio Classics", "Country of Origin": "USA", "Number of discs": "1"}

Here is a brief synopsis of the title : From the Master of Suspense, Alfred Hitchcock, the legendary director of Blackmail, Shadow of a Doubt, Rear Window and The Birds. Hitchcock’s third sound film was a return to the crime genre, adapted by Hitchcock and Walter Mycroft (Champagne) from the play Enter Sir John by Clemency Dane (A Bill of Divorcement) and Helen Simpson (Sabotage). Actress Diana Baring (Norah Baring, A Cottage on Armor) is convicted of the murder of another actress in the same touring company. But the distinguished actor Sir John Meniere (Herbert Marshall, The Letter), who served on the jury at her trial, becomes convinced of her innocence and decides to solve the case. Beautifully shot by Jack E. Cox (The Lady Vanishes). This special edition also includes Mary, the 1931 German version of the film, directed by Hitchcock and starring Alfred Abel as Sir John Meniere and Olga Tschechowa as Mary Baring. Special Features: -Audio Commentary by Film Critic Nick Pinkerton -Hitchcock/Truffaut: Icon interviews Icon (Audio) -MARY: 1931 German version of 'Murder! ' also directed by Hitchcock (Up-res) -Introduction by Noël Simsolo -Alternate Ending.