This is a special 3D screening in conjunction with Little White Lies magazine and MUBI.
Chicago Reader review:
Alfred Hitchcock's 1953 adaptation of Frederick Knott's dinner-theater warhorse about a fading tennis champion (Ray Milland) who arranges the murder of his wife (Grace Kelly). The film is confined almost entirely to a cramped apartment set—a constricted space that takes on a highly expressive quality in the picture's original 3-D version. The screenplay tends to constrain rather than liberate Hitchcock's thematic thrust, but there is much of technical value in his geometric survey of the scene and the elaborate strategies employed to transfer audience sympathy among the four main characters.
Dave Kehr
Here (and above) is a fascinating insight into Hitchcock's use of 3D.
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