there's a thing where you adds 'in my ass' to the end of a movie title, so here are some…
Two young men strangle their "inferior" classmate, hide his body in their apartment, and invite his friends and family to a dinner party as a means to challenge the "perfection" of their crime.
One of the most innovative films of its time, Alfred Hitchcock's Rope introduces a number of filmmaking experiments which, even today, remain widely unexplored in the world of cinema. It is an immensely captivating tale of two men who strangle one of their acquaintances, hide his body in their apartment, and then throw a party to determine the perfection of their crime.
Filmed in a manner that gives the illusion of being shot in a single take, the biggest strength of this film is how effortlessly it manages to engage the viewers in its expertly crafted plot & sustain the tension throughout its runtime even when the audience is aware of how the movie will end. The direction by Hitchcock is…
“I've always wished for more artistic talent. Well, murder can be an art, too. The power to kill can be just as satisfying as the power to create.”
With the aftermaths of the effects of World War II, Patrick Hamilton’s play seemed like the perfect choice for Alfred Hitchcock’s next film. A plot which centers on two highly intellectual men that decide to commit the perfect murder. The victim being one of their classmates who they consider to be inferior to them. This concept of superiority is handled pretty heavily as there are several discussions about it through the film, and it is easy to compare it to Hitler’s ideal of the superior Nazi race. Rope isn’t subtle at all,…
Not Quite Hoop-Tober: Day 8
Double feature: classic genre-bending thrillers – part 1
Rope is a classic Hitchcock murder mystery best known for its inventive use of long takes and creative cutting to try to appear as a single, uninterrupted shot, and while some audiences may find this distracting, it effectively puts the viewer at the scene of the crime and creates a feeling of claustrophobia or entrapment, as if events are escalating out of control and there's nowhere for you to escape to—likewise, confining the action to a single apartment with a view of the New York skyline increases the anxiety of the situation by creating the sense that we're not allowed to leave (and it's this tense and…
Phillip: Brandon, you don't think the party is a mistake, do you?
Brandon: Being weak is a mistake.
Phillip: Because it's human?
Brandon: Because it's ordinary!
Without exaggeration, I think this may have been probably my tenth viewing of 'Rope'. It's a film that I can just never tire of, every time I watch the film I get caught up in Alfred Hitchcock's innovative mastery, and on this subsequent viewing not an inch of my admiration for the film or Hitch has at all faded.
Two friends orchestrate the murder of an old acquaintance who they believe to be ''inferior''. They throw a party the same afternoon to show the perfection of their crime, but things go awry when their…
This certainly isn't a classic who-done-it. It's more of a modern will-they-get-caught. So much has been said of this film already, I would not dare revisit the plot points. In the interest of adding some fresh perspective, however, here are ten curious things viewers might not know about the Alfred Hitchcock murder thriller Rope.
1. The script was loosely adapted from a stage play called Rope's End by British playwright Patrick Hamilton.
2. The primary characters, Brandon & Phillip, are homosexual roommates, but in 1948 their relationship could not be made obvious.
3. This was Hitchcock's first film in color, and he had to reshoot many scenes because the hues were too bright.
4. The action was filmed continuously on ten…
In Rope Unleashed, the 2001 documentary featurette produced by Alfred Hitchcock historian Laurent Bouzereau, Rope’s screenwriter Arthur Laurents questions Hitchcock’s decision to show the crime in the opening moments of the film instead of revealing it at the end. It is an interesting observation. It may indeed be true that by doing so Hitchcock has drained much of the suspense from the film, at least in the conventional sense. I imagine Rope would be a very different experience if the audience had to guess whether a crime was committed or not. I am not sure, however, that it would be a better one. It would have certainly taken away from the film’s homosexual undercurrent (reportedly much stronger…
Great screenplay, incredible long takes, super gay, very suspenseful, what's not to love?
Rope is dope.
Not really sure why Strangers on the Train is pointed to as the essential queer theory text from Hitchcock when this exists. From the moment Granger and Dall stroke a champagne bottle for what feels like a full minute, it's pretty clear that the two are hiding much more than a body. The relationship between murder and homosexuality isn't an equivocation as much as an association, both being acts of passion forbidden by society. The incredible friction between the leading duo, one extremely paranoid and the other curious to see how much they can get away with, contains a certain sense of trepidation that comes with any secret, one of caution with a teasing urge to drop…
كلما زاد التحدي زادت المُتعة فهل من الممكن ان يٌصبح القتل فننا ! صديقان يحاولون اظهار براعتهم بالقتل ، جريمة الوقوع في الخطأ مستبعدة
I guess I should have seen this coming. An Alfred Hitchcock film I've never seen I end up loving immensely. Shocking. But in all seriousness, this is one of the most engaging experiences I can recall watching a movie. I was utterly enraptured in every detail and revelation.
I began with an attitude of disgustingly gleeful pleasure at witnessing a murder and hoping with all sincerity that the culprits would get away with it. These are cold-blooded murderers, and yet I was convinced that their dastardly planned deserved to work seamlessly. Maybe it's just that John Dall's Brandon is so damn charming, and maybe it's that I as a human am naturally curious to see where and how events unfold,…
A curious experiment at a "one take" movie. On the one hand, the experiment gives the film a certain nervous energy, like can they keep it up through each long take,w here there are very limited cuts? On the other hand, being slavish to the experiment saps the film of any true build in momentum. Tense, but measured, to its detriment.
I can't believe I've never seen this Hitchcock classic before. Especially since its loosely based off of Leopold and Loeb, those two assholes who thought they could get away with the perfect murder and ended up getting caught because they were morons.
Anyways, this is a powerhouse. The guy who plays Brandon, the guy who shows no remorse and is flaunting the fact that he just murdered a guy? TRULY PHENOMENAL. The guy who played Phillip was pretty fantastic too, but the other guy was truly a sight to behold.
I dunno, I've just never really clicked with this. It's neat that it was done that way, and neat is hardly the thing that one first hopes for out of a Hitchcock film. The final monologue is almost as dreary as the one that ends Psycho and the color cinematography is out of control, but I do very much like the three leads and the lighthearted cruelty of the humor.
1. Only cuts are at the end of each reel.
2. John Dall.
3. So many double meanings.
4. Rare code-era Hollywood film with leads playing an obviously gay couple.
5. The slowly changing scenery seen through the large apartment window.
If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…