A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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…
I’ve finally gotten around to Rope. I’ve seen it on many friends Hitchcock favourite lists over the years, and its svelte run time made it a good fit the other night when we started rather late.
I normally would want to spend more time on such a classic, but it’s now been a few days, and I’m just going to dash off some observations before I forget, and perhaps give it the review it deserves on a rewatch.
The most stagey of Hitch’s films, as it plays out on a single set ( Rear Window, at times my personal Hitch favourite, is close, but we see some outside action ), yet it doesn’t seem confined or ‘stagey’ in the least.…
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…
James Stewart is the poor man's Cary Grant. It was an interesting movie, and another that I had a feeling had been adapted from a play, just based on the execution of it. I doubt I'll ever watch it again, but it wasn't bad.
That murder scene is awful though...
Hitchcock's trademark obsessions abound in this deliciously wicked study of guilt, Freudian neuroses, and unrepentant immorality, a lushly pulpy mix of paranoid tension and intellectual gamesmanship that gains a thrillingly dynamic quality with Hitchcock's bold formal experimentation. The famed real time continuity, ten minute long takes aided by concealed edit points, paired with Hitchcock's fluidly assured direction—dividing the limited stage space into distinct, semi-private sections with deft, near constant motion, camera movement and zooms, while overlapping dialogue and ambient noises keep the rest of the room in mind—add to the feeling of ceaseless, unrelenting tension. Hitchcock marks the progression of time with expressive lighting that grows ever more pronounced and sinister, moving from the natural late-afternoon sunlight through the rich orange-glow of twilight to the flashing neon lights and blazing skyline of night as the chaotic external world breaks the carefully composed interior.
Minor Hitchcock to be sure but some interesting camera work and tricks to make it look like one take and build tension - I know "surprise, surprise." - particularly the scene where the maid clears the chest while dialogue happens off screen.
"I never strangled a chicken in my life!" Another first-time Hitchcock watch here. Absolutely dripping with subtext and obsessed with murder. Set in an apartment overlooking the skyline of NYC, and taking place in "real time" with the illusion of a single take- the tension is unbearable at times making the viewer feel as though they were an unwilling accomplice in the crime.
I saw the last ten or fifteen minutes on TV years ago, and it fascinated me- even though I couldn't exactly articulate why at the time. Glad I finally got around to watching it in full tonight.
Janet: I could really strangle you, Brandon.
Brandon: What have I done now?
Janet: At times, your sense of humour is a little too malicious, chum.
This line is so Hitchcock.
Pretty disappointed in this. I thought the execution was awkward and clumsy at times. The single shot gag didn't add anything to the film. Still, Hitchcock manages to milk the tension for all it's worth. Not one of his best, however.
In my opinion one of the most perfect movies ever made! It's really simple in many ways, but everything is made to perfection. There are only ten shots in the movie, but it seems like one, the dialogue are extraordinary great and I simply love the acting of especially John Dall and (as always) James Stewart. The fact that James Stewart felt he was miscast as the professor doesn't make sense to me, I think he does everyhting he needs to fit the charachter.
The cinematograhy and set design are amazing and there are a lot of details to discover, even though the entire movie are set in one location, except for the opening shot.
I'm amazed how much Hitchcock is able to do with so little. Oh, and did I mention I love the basic idea of the plot?
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…