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Rope is a 1948 Alfred Hitchcock movie mainly noted for its technical accomplishments. This highly-charged thriller is based on both a real life murder case and a play by Englishman Patrick Hamilton (entitled Rope's End). The entire film is therefore set in one single apartment and told in real time. Hitchcock had originally wanted the entire film to be one continuous shot, but technical limitations at the time didn't permit this goal to be achieved. Instead the film is composed of several lengthy 10-minute tracking shots. With the application of inventive editing techniques, many of the shots are seamlessly cut together. The concept is admirable, especially if one considers the size of film cameras employed to lens the film. They were large and bulky, and it was difficult to create a smooth flow as the camera moved through the single set. Moving the camera proved a total nightmare, and it shows at times with some of the most obvious camera movements one will ever see. Considering the difficulty of the task, Hitch handled the camera movements well enough.
Unfortunately, Rope is largely remembered as a moderately unsuccessful cinematic experiment. In hindsight, Hitchcock himself even regarded the movie as a "nonsensical stunt". Rope is very much Hitchcock in experimental mode and this is displayed on the film's sleeve. Many still regard this film as one of Hitchcock's biggest blunders, while others (such as myself) consider this one of Hitchcock's best. Needless to say, views are largely mixed on the matter.
Another factor to take into consider is the lack of a true Hitchcockian plot. He dispenses the film's key element in the opening scene. A murder takes place, and then the audiences wonders whether the murderers will get caught. This may not seem very intense to some, but to me the duration of the film was nail-biting and suspenseful. The mystery of whether the killers will get caught is the momentum that powers the proceedings. It's hardly a thrilling premise, however the performances and the technical achievements are what make this film such a winner.
In the opening sequence, a murder unfolds in the New York apartment of Brandon Shaw (Dall) and Phillip Morgan (Granger). The two men are sociopaths who have taken the Nietzschean teachings of prep school mentor Rupert Cadell (James Stewart) too seriously. They murder Harvard undergraduate friend David Kentley (Hogan) in cold blood to prove their existential superiority, referring to their victim as an inferior human being who's "merely occupying space". Furthermore, the murder was also for a sheer thrill. They hide the body in a trunk in the middle of their apartment. To celebrate their triumph over common morality, and to arrogantly test the perfection of their crime, they hold a party with a buffet served atop the trunk concealing David's corpse. For the party the pair invite the victim's parents, members of his family, and even his fiancée. In addition they also invite Rupert Cadell himself. As the party progresses, concerns about the non-appearance of David heighten, and Rupert begins to suspect foul play.
The seemingly dreary concept of lengthy shots capturing action in a sole location is magnificently elevated by the fantastic actors. James Stewart received top billing for the supporting role of Rupert Cadell. As always, if Stewart is given a good role he can do wonders with it. In this case he's charismatic and well-spoken. His obsession with finding the truth throughout the night yields some absolutely fascinating results. Apparently Stewart once criticised director Hitchcock for rehearsing his cameras but never his actors. On occasion this criticism gains credibility. His actors appear to stumble at times, which can probably be attributed to the radicalism of Hitchcock's approach.
John Dall places forth a stunning performance as one of the murderers. His character's arrogance is beautifully highlighted in Dall's remarkable mannerisms. His perpetual stutter, his suspicious perennial smirk, and his formal stance do miracles to the script.
Farley Granger delivers a riveting performance as the other killer. His character's nerves eventually get the better of him as the night advances. Toward the conclusion he's a nervous wreck. Granger never treads a foot wrong.
Joan Chandler must also be mentioned. She's absolutely beautiful, and (unlike today's most attractive actresses) her acting skills are top-notch.
Rope is a criminally underrated Hitchcock movie. In my opinion the film is easily one of Hitch's best. Throughout its brisk running time of about 80 minutes, the movie is imbued with intensity and permeated with nail-biting situations. This is a terrific character study that examines the arrogance and desperation of human nature. Some of the subtle technical inclusions are particularly laudable. The lighting is another great example. The central apartment contains a number of large windows overlooking the city. As the entire movie is more or less unremitting and without respite from start to finish, we see the lighting change as the sun begins to set and night falls. You don't really notice this subtle effect upon initial viewing. Yet, the filmmakers endured great pains to bestow the film with a high level of realism, staging abundant re-shoots for the final few scenes. This dedication to perfection shows. Perhaps there is an occasional shortage of suspense, and there is a noticeable lack of a spark at times as well, but Rope is a still a fantastic thriller and a strange premonition of what was to come from the Master of Suspense.
8.8/10
