This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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…
Ebert and Hitchcock himself both seem to have thought Rope was an interesting, if unsuccessful, experiment but I think it actually might be a little too tidy. I don't see this as a problem at all, I'm just surprised anyone would see it as a failure. The "real-time/one-take" conceit, I believe, is actually pulled off brilliantly. It's obvious when they're cutting but the technique doesn't draw as much attention to itself as, I don't know, Birdman does. (I'm only bringing up Birdman because the characters refer to Ingrid Bergman as "Bergman" and I misheard it.) Farley Granger notwithstanding (whose performance I found one-note and irritating), the actors are outstanding. John Dall, in particular, is brilliantly slimy as one of the…
Turns out that having a dinner party to secretly celebrate a murder isn't such a wise plan.
Incredible innovation, stands well now, nearly 70 years later. Great performances, interesting dialogue.
Loved the way that Rope approaches philosophy.
With it's long shots and superb performances, Rope is a technical achievement that hardly feels gimmicky.
One of Alfred Hitchcock's best films.
While it sometimes feels dramatically inevitable and drags a bit because of that, there are enough moments of tension here that show Hitchcock's immense talents even without his usual creation of suspense through editing. Even though this is a stage adaptation and its single apartment location makes its style often feel straightforwardly theatrical, the oddly jerking movement of the camera makes it feel like all these characters are being watched and judged by an otherworldly presence (a motif that runs throughout Hitchcock's style but is usually accomplished with bird's eye views or inhumanly strange angles). I wish this didn't give a horrific misreading of Nietzsche (I personally would have loved it if Stewart used Nietzsche's actual ideas as a rebuke…
The Crime and Punishment influence strikes again.
Incredible direction by Hitchcock. This movie had my heart pounding at several moments— quite an achievement for a film that doesn't rely on cheap tricks like jump scares to keep you on the edge of your seat.
Hitchcock's first colour film really stands the test of time with the innovative idea of setting the story practically in real time.
A must see for all film buffs for not just the plot but on a technical level that they managed to make this film in the late 40's.
It's fun to try and work out where the edits take place (some are obvious) as only a maximum of 10 minutes of film could be recorded in one take back then.
Films featuring varying levels of obvious and less obvious homoeroticism.
Movies that are slightly off.