All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
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.
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…
Rope is another splendid thriller by Alfred Hitchcock, having great suspense as always and very interesting dialogues. This film never ceased to be entertaining and I really enjoyed the humorous moments here. The story also had a fine dramatic touch towards the end, escorted by intense confrontations between the main three characters. The whole movie occurs in only one location, but Hitchcock manages to create a really intriguing crime film with great performances all around and a truly unique story.
Holy shit, I love this film.
Unconventional way to kick off a review, I know, but I can't help it. Rope is 80 quick minutes that are so perfectly paced, so perfectly executed that I couldn't help but be totally fascinated by the entire experience. The opening scene of the film shows two men, Brandon (John Dall) and Phillip (Farley Granger) as they are in the midst of murdering a man named David, and Brandon expresses no remorse due to his belief that they are superior human beings to David and thus should be entitled to eliminate someone inferior to them. They decide to make their own "perfect" crime far more risky and uncomfortable by inviting over guests for a…
With Rope Alfred Hitchcock has crafted a taunt, finely woven thriller, knotted tight with suspense, which won't leave you burned. Okay, I'm done with rope puns now. Telling the story of two friends who decide to murder a third friend of theirs, Rope is unique for many things, from its style to its plot. The idea that the main characters are cold-blooded murderers, who add insult to injury by throwing a party mere minutes after they snuff the life out of their chum, while the body is still in the room, must have been pretty staggering back in the late '40s.
That's not the only thing staggering about Rope though, going in I had no idea this was Hitchcock's take…
Now, the theme of murder isn't exactly new to me in a Hitchcock-film, but this time around it's done from a whole new angle, and that was really entertaining. In the masterpiece Rope, Alfred Hitchcock explores a question that every philosophy student asks themselves: Why shouldn't I kill a man?
The film plays out in real-time during a party in an apartment, and is cut to seem like a single continuous take. That's about the only thing that fails in the film, because it was impossible back them to conceal every cut, and the result is sort of clumsy. Other than that though, the cinematography is nothing but perfect! The style is extremely intimate, Hitch adds moments of suspension just…
One of my personal favorites for the self-imposed technical constraints, twisting of sympathies, and Farley Granger. The moving camera, in addition to being an absolute technical marvel, also makes you complicit in the action, adding to the stomach twist you feel during the close calls. It's a talky film, but I think in a different way from Dial M for Murder - Hitch is great for his visual storytelling, and he's at his best when there is a discordance between what you see and what you hear, which is the case here.
Great fun with an audience. Farley Granger's drunk act toward the end is a thing of beauty as he essentially shouts his way from out of the foreground trying to stall John Dall's incriminating tactics. This is really a series of verbal acrobatics in what might be Hitchcock's treatment of his best script.
Rope is a suspense thriller from Alfred Hitchcock. It involves two individuals that have devised the perfect murder and even made it an art form. They take the body and hide it in a chest before a dinner party with friends and family of the victim. The entire film is shot to look like one continuous take. It really adds a sense of thrill when the characters are interacting around a dead body in real time. It feels like at any moment that someone could discover the murder. The actors did a great job especially Jimmy Stewart at making memorable characters. Even the ones that get few lines to establish character do a good job at being two dimensional. The directing from Hitchcock is top notch as the cuts are disguised to appear like they are not there. Overall Rope is an exciting character study with a unique filming technique to keep it even more suspenseful.
DIFFERENCE: in the opening murder scene, there's this crazy eerie silence where James Stewart and his partner are post-kill-orgasming. Not much of eerie silence in Vertigo, usually there'd be some crazy music or some weirdly uplifting music playing. There's no music for a long time after the initial score, whereas in Vertigo there's music going on for most of the movie. No internal-diegetic sounds here, it seems.
SIMILARITY: he likes to have characters framed against windows with he city skyline. In the opening scene James Stewart is, and in Vertigo Midge is in several scenes. MORE SIMILARITIES: he uses a tracking shot instead of a zoom when somebody says something dramatic, like when subservient murder says "I wish it were…
I think that this is the original idea for Columbo, the killer in the first scene battling mentally with our hero. It is visually Hitchcock and Jimmy Stewart is as enigmatic as ever and I love the fact that the whole film takes place in 1 location.
This is one of Hitchcock's more original ideas but because of my automatic assumption of Columbo and the fact that you just knew that Jimmy Stewarr would come good it felt very predictable, the cracks showed to early and I think it would have been immense to see it in it's own time.
While not always talked about in the conversation of great Hitchcock films, this is certainly one of his most unique and interesting pieces. His first color film, it has its fame from being shot to look like a single unbroken shot (with one notable exception), but I think it deserves much more credit as a fascinating discovery of philosophies and the consequences therein, a lesson as meaningful today as it was in the early 20th century. This film brilliantly enraptures its audience in a way few films can, making you believe that murder is right and bringing you personally through the fascinating journey of these characters. Incredible acting and writing, with some of the most powerful camerawork in Hitchcock's career, truly, "Nothing ever held you like Alfred Hitchcock's Rope."
A classic piece of Hitchcock: technically brilliant, incredibly tense and provocative discussions about the nature of murder. It may feel stagey but the single tracking shot approach is intentional, it's like being inside a play at times, like you are walking through the set as the drama unfolds. The conclusion is satisfying as is the gradual increase in tension as the Masterplan begins to unravel. Classic stuff.
Hitchcock allegedly always viewed this film as a failure, and I kind of agree. It's not just that technical limitations prevented him from doing the whole film in one shot as intended, but as a story, as an attempt in doing a thriller in one location, real time, it doesn't really work. Hitch constantly feels constrained and stuck in this tiny room, and the film has to constantly go out of its way to pad the story out to feature length, and it doesn't do a very good job of it (there's an interminable sequence where several characters try to recall the name of an actor in a film they had recently seen that I think might be an attempt…
I was kind of expecting something "explosive" at the end. But what I got was very subtle, and hard-hitting in retrospective! Hitchcock plays with our subconscious, placing us in the room with characters, they and their conversations even being demoted to off-screen from time to time as he constantly reminds us of the foul deed that could be discovered at any moment. When recreating the murder, he uses nothing as crude as flashbacks; he entices the audience to relive it through vicarious imagination. The story is told entirely through the verbal duel of the party guests, Jimmy Stewart being the perfect casting choice as their old schoolmaster who begins to suspect something is fishy, his image as a morally upstanding…
I haven't seen Hitchcock's most essential - or, should I say, most popular - films. Psycho, North By Northwest, Rear Window and Vertigo somehow all remain unseen by me. There's no particular reason for that. Like all films I've never seen, I simply haven't got around to them yet. But how Hitchcock eluded me for so long boggles the mind. Rest assured, though, I am correcting that wrong. In the last few months, thanks to The Criterion Collection, I've seen The Man Who Knew Too Much, The Lady Vanishes, The 39 Steps and Foreign Correspondent. And just yesterday, I picked up Universal's 'Alfred Hitchcock: The Masterpiece Collection' - a gorgeous, 15-film Blu-ray box set, which includes the aforementioned unseen films,…
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- My Neighbor Totoro
- Grave of the Fireflies
- Final Cut - Ladies & Gentlemen
- For All Mankind
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Don't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
- The Shawshank Redemption
- The Godfather
- The Godfather: Part II
- Pulp Fiction
- The Good, the Bad and the Ugly
Some love it, some hate it, but I figured we might as well have the IMDb list here. Since it's…