Rope (1948)

An experimental film masquerading as a standard Hollywood thriller. The plot of Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone's back or moved behind a lamp. In later years Hitchcock wrote off the approach as misguided, and Rope may not be one of Hitchcock's top movies, but it's still a nail-biter. They don't call him the Master of Suspense for nothing. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. --Robert Horton Amazon.com

Frayed, but Tight

Hitchcock's first color film was this stage adaptation pieced together from only about a dozen takes. It's similar to Dial M, but with a psychological slant that, along with the factual basis for the story, make it a hard picture to really enjoy. The cast is too credible to allow us much amusement from the sophisticated double entrendres of the central crime. Hitchcock's later mastery of black comedy may have been able to make something more palatable of the script. As it is, Dall and Granger create a kind of duet of arrogance and dread that's adeptly played, but unsettling to watch. (Cedric Hardwick's turn as the victim's compassionate father also make it difficult to take much enjoyment in the goings on.) And a miscast Jimmy Stewart makes a most unlikely dispassionate intellectual. (Hitchcock wanted Cary Grant - I think Olivier would have been perfect.) But, even if the picture doesn't work entirely it's still underrated, and at less than 90 minutes fascinating. December 1, 2008

Flawed, but interesting.

Rope presents the story of two charmed -- but hardly charming -- prep school "chums" who, in addition to being, for all appearances, lovers, decide to kill someone just because they can. You see, these two perfectly preened dandies fancy themselves the elite and above the law and other nuisances meant for the dullards and nincompoops that comprise the vast majority of humanity. It turns out they've read a little too much Nietzsche at the feet of their prep school idol, Rupert. Yes, Rupert. What's clever and somewhat interesting about the story is how they decide to host a party in the very room where the body is hidden. Not that it's funny or meant for laughs. To the contrary, Rope is meant to be rather serious stuff about a couple of sociopaths.

Rope has the feel of a stage play (it was based on a play), with all but the opening scenes played out on a single set -- an apartment with ever-changing, but fake-looking view of New York. The view gives the scene a surrealistic feel that, overall, is a plus.

For all of that, Rope suffers from the kind of stilted, mannered acting most often encountered in the theater. People don't speak to each so much as deliver lines that often border on speeches. It's melodramatic and cloying, at least to my sensibilities. This is the opposite of the naturalistic acting to which we've become accustomed. There's also something fake and manipulative about the story and its unfolding, even though it was, ostensibly, inspired by the real life case of Leopold and Loeb (to which it bears only a passing resemblance). It's also preachy in its own way, with Jimmy Stewart, as Rupert, transforming before our eyes from an existentialist to a conscience-stricken moralist. While he's given good cause to reevaluate his philosophical views, his performance simply isn't convincing. (It is quaint to note that, back in the day, firing a gun from a New York City apartment window could get the attention of the police.)

This is a weak entry from Hitchcock. Worth seeing, but mainly for what must have been daring subjects at the time. November 11, 2008

An Ode to "Rope" -- One of Hitchcock's Underrated Best

Alfred Hitchcock's "Rope" (1948) is a claustrophobic masterpiece - a spiraling descent into the dark recesses of human nature. Hitchcock explores the rough edges of ego and impulse and how they can lead to horrible consequences.

It may be Hitchcock's greatest movie. Certainly it is his most tightly constricted piece - filled with long takes in near real-time. It's an amazing achievement of controlled tension.

The only exterior shot in the film comes during the opening credits. The camera rests on an apartment window with the curtains pulled shut. There is a muffled scream and then suddenly we're inside the apartment where David Kentley is being strangled to death by two of his friends.

The movie setting goes internal. It reflects the direction of the film because we're about to get inside the minds, motivations, and the personalities of the characters. We're trapped inside the apartment for good - just like poor, dead David who has been stuffed into a chest.

His murderers are two wealthy, intellectual young men named Brandon Shaw (John Dall) and Philip Morgan (Farley Granger). They have killed their friend for one reason - to experience the sensation of murder. They want to pull off the perfect crime - and revel in their superiority.

To make matters even more horrifying, Brandon and Philip are throwing a dinner party and inviting David's family, his girlfriend (Janet), the girlfriend's ex-boyfriend, and their former academy teacher Rupert (their mentor who has inspired their crime with his misinterpretations of Nietzchian philosophies of the Superman).

"Nobody commits a murder just for the experiment of murder," Brandon says as he pops a bottle of champagne. "Nobody except us."

But the celebration isn't what Brandon expects because the heavy weight of their crime begins to crush the more sensitive Philip. Brandon is the cold, charming snob - and a classic sociopath. Philip, however, slowly begins to unravel. He gashes his palm after crushing a wine glass in his hands when David's aunt mistakes another guest for David.

But even the cool and calm Brandon has moments of panic. When David's father asks where his son is, Brandon stammers: "I thought he was coming with you!"

Rupert (Jimmy Stewart) doesn't show up until 30 minutes into the film. And once he arrives the film becomes his. Stewart - one of the greatest actors in American history - is amazing in "Rope." Personally, he didn't like his performance, but the movie is in essence about the transformation of Rupert - his growth from a bitter cynic into a connected human being. And it works.

Here's a peek into Rupert. Introduced to Janet (Joan Chandler):

"Ah, Miss Walker," he says.

"How did you know?" she asks.

"Brandon has spoken of you."

"Did he do me justice?"

"Do you deserve justice?" he asks and then waltzes off with a smirk.

The commanding personality of Rupert begins to melt Brandon. He joins Philip as the weight of his crime is reflected back to him in the presence of his mentor.

Rupert - a naturally suspicious and cunningly observant man - gets his first thread to pull when Brandon - a game player - serves chicken for dinner. Philip no longer eats chicken after having to strangle one at Brandon's farm. When Brandon tells the story with an evil twinkle in his eye, Philip has an outburst of anger. The scene gives Rupert his first clue and his investigation begins.

He comes up with gems like this: "You're more than unusually allergic to the truth tonight Philip. That's the second time you haven't told it."

Ultimately the keen Rupert finally discovers the grim secret in the bottom of the trunk. It's a chilling scene. The movie ends with Rupert throwing open the apartment window and letting the outside cleanse the inside of the apartment with its noise and voices.

And Philip utters the last words of the movie: "They're coming." They don't make movies like "Rope" anymore. But they should.


For more literate blather visit the Dark Party Review ([...]) November 2, 2008

Great print of a great movie

This is one of Hitchock's best films - they are all great, but this one and "Rear Window" are my favourites. The technical transfer of this film to DVD is solid; the storyline is incredible, given the time in which this film was produced.

There's quite a bit more "story" to the story, in the relationship between the two main characters - a relationship that possibly doomed this film to very specific audiences in 1948 when it was released. Don't miss this one - if it's not in your Hitchcock collection, it should be. Definitely ranks as one of the top 5.

There are also a number of extras on the disc that are very well-done and entertaining, especially to see how the film was made using an incredibly limited number of takes (a first for film), using something only Hitch would have pioneered to camoflauge the end of each reel and provide a seamless transition to the next.

Enjoy!

August 9, 2008

A different kind of Hitchcock

3.5 stars. A film inspired by the true crime case of Leopold and Loeb, Hitchcock tried to do a few different things with this film and I'm not too sure it worked. The decision to shoot in eight ten minute long sequences might have sounded appealing, but to me it came off a bit too gimmicky. The film is also a little slow in getting started and doesn't really pick up until Jimmie Stewart comes onto the scene. Jimmie, as always, is perfect and it is he who steals the show. Of course, I don't know how either of the boys thought this was the perfect crime, but then again, what do I know. Still the third act turns out to be quite suspenseful and is what made this film enjoyable. Recommended. July 27, 2008

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