Related Directory Categories
- Film (5983)
- Titel (4700)
- Films (669)
- S (538)
- M (427)
- Film Festivals (388)
- F (386)
- Film (383)
- Video and Film (378)
- A (373)
Sources
Help build the largest human-edited directory on the web.
Submit a site - Become an editor
Wikipedia. Licensed under the GNU Free Documentation License.
Are you an expert in this subject? Join the discussion and share your knowledge at Wikipedia.org.
Rope (film)
From Wikipedia, the free encyclopedia
| Rope | |
|---|---|
 Original film poster |
|
| Directed by | Alfred Hitchcock |
| Produced by | Alfred Hitchcock Uncredited: Sidney Bernstein |
| Written by | Play: Patrick Hamilton Adaptation: Hume Cronyn Screenplay: Arthur Laurents Uncredited: Ben Hecht |
| Starring | James Stewart John Dall Farley Granger Cedric Hardwicke Constance Collier |
| Music by | David Buttolph |
| Cinematography | William V. Skall Joseph A. Valentine |
| Editing by | William H. Ziegler |
| Distributed by | Warner Bros. |
| Release date(s) |  August 23, 1948 |
| Running time | 81 minutes |
| Country | United States |
| Language | English |
| Budget | US$ 1,500,000 |
| All Movie Guide profile | |
| IMDb profile | |
Rope (1948) is an Alfred Hitchcock classic film notable for its single location covered in just a single continuous shot, stopping only to zoom into someone's back whilst switching reels. It is based on the play Rope by Patrick Hamilton, which was said to be in turn inspired by the real-life murder of a young boy in 1924 by two University of Chicago students named Leopold and Loeb. Hamilton, though, always denied the link between his play and the case.
Hitchcock was the producer and director of the film. Rope is the first movie for which Hitchcock received a credit as both producer and director (he was the uncredited producer on Number 13, Suspicion and Notorious). The rights to the film are now owned by Universal Studios, which bought the rights in 1983.
Contents |
Two brilliant aesthetes, Brandon Shaw (John Dall) and Phillip Morgan (Farley Granger), plan the perfect murder inspired by lectures on the art of murder once made by their erstwhile house-master, Rupert Cadell (James Stewart). They invite a former classmate, David Kentley, to their apartment for drinks, strangle him, and hide his body in a chest, thus, they believe, demonstrating their superiority. Straight afterwards they throw a party in their apartment. Among the guests are the victim’s father and aunt (his mother does not turn up), his fiancee and her former boyfriend. Rupert Cadell also attends.
To impress Rupert and to gain his approval, Brandon subtly drops hints throughout the party about the murder of David, and begins a discussion on the art of murder. David, his connection to the guests and his curious absence forms much of the conversation during the evening.
In contrast to Brandon, Phillip gets more and more nervous throughout the party. Rupert quizzes him over David’s absence and some inconsistencies that have been raised: Phillip denied strangling a chicken at the Shaws’ farm when Rupert knows that he did. Phillip later complains to Brandon that he “had a rotten evening” (a reference to Rupert’s probing, not David’s murder).
At the end of the party Rupert is handed another person’s hat by mistake. In it he sees the initials "D.K." (as in David Kentley) and becomes rather uneasy. Highly suspicious Rupert returns to the apartment after everyone has departed, claiming he has misplaced his cigarette case. When he arrives back in the apartment, he plants his cigarette case, finds it, but then stays to theorize about the murder of David, encouraged by Brandon who seems eager to have Rupert discover it. When Rupert lifts open the chest to reveal the body still tucked inside and realizes that his two former students have indeed murdered, he is horrified — and ashamed of his own rhetoric that had led them to perform the morbid deed. He then takes Brandon’s gun and fires several shots into the night in order to attract police attention.
The film is Hitchcock’s most experimental, abandoning many standard film techniques to allow for the long unbroken scenes. Each shot ran continuously for up to ten minutes without interruption. It was shot on a single set, aside from the opening establishing shot street scene. Camera moves were planned in advance and there was almost no editing. The walls of the set were on rollers and could silently be moved out of the way to make way for the camera, and then replaced when they were to come back into shot. Prop men also had to constantly move the furniture and other props out of the way of the large camera, and then ensure they were replaced in the correct location. A team of soundmen and camera operators kept the camera and mics in constant motion, as the actors kept to a carefully choreographed set of cues. The cyclorama in the background was the largest backing ever used on a sound stage and included models of the Empire State and Chrysler buildings. Within the course of nine reels the cumulus clouds made of spun glass change a total of eight times. This was also Hitchcock’s first color film.
Hitchcock filmed each scene in segments lasting up to ten minutes (the length of a reel of film at the time), each segment continuously panning from character to character in real time. Several segments end by panning against or zooming into an object (a man’s jacket, or the back of a piece of furniture, for example) or by having an actor move in front of the camera, blocking the entire screen; each scene after that starts a static shot of that same object. In this way Hitchcock effectively masked many of the cuts in the film, a technique that has frequently been used since to hide edits.
Although it is commonly believed that all the cuts in Rope are hidden, in fact, only half are. Another misconception is that all the shots last ten minutes. Actually, of the ten shots used for the film, only three approach or exceed the ten minute mark. Five of the shots range between seven and eight minutes, and the penultimate and final shots last only about four-and-a-half and five-and-a-half minutes, respectively. A description of the beginning and end of each reel follows, with the approximate duration of the shot given in parentheses.
- R1 (9:34) CU strangulation to Blackout on Brandon’s back.
- R2 (7:51) Black, pan off Brandon’s back to CU Kenneth: “What do you mean?”
- R3 (7:18) Unmasked cut, men crossing to Janet to Blackout on Kenneth’s back.
- R4 (7:08) Black, pan off Kenneth’s back to CU Phillip: “That’s a lie.”
- R5 (9:57) Unmasked cut, CU Rupert to Blackout on Brandon’s back.
- R6 (7:33) Black, pan off Brandon’s back to Three shot.
- R7 (7:46) Unmasked cut, Mrs. Wilson: “Excuse me, sir.” to Blackout on Brandon.
- R8 (10:06) Black, pan off Brandon to CU Brandon’s hand in gun pocket.
- R9 (4:37) Unmasked cut, CU Rupert to Blackout on lid of chest.
- R10 (5:38) Black, pan up from lid of chest to End.
Hitchcock ended up reshooting the last 4-5 segments because he was dissatisfied with the color of the sunset. He shot about one segment a day.
Hitchcock used this long-take approach again on his next film, Under Capricorn.
Alfred Hitchcock's cameo is a signature occurrence in most of his films. In this film, Hitchcock makes two appearances[1]. In the opening scene he plays one of the men walking down the street. Later on in the film, Hitchcock’s caricature is on a neon sign visible from the apartment window. Below his caricature is the word "Reduco," recalling Hitch’s cameo in a newspaper ad for "Reduco" in Lifeboat.
Rope may be considered a homoerotic movie, even though the film version never indicates that the two murderers in the film were having an affair, and reference is made to one of them (Brandon) having previously been in a relationship with the fiancee of the murdered man. However, there is no indication that the two men live apart, and towards the end of the movie they discuss going away together for a holiday.
Even though homosexuality was a highly controversial theme for the 1940s the movie made it through censorship. However, many towns chose to ban it independently, memories of Leopold and Loeb still being fresh in some people’s minds[citation needed]. Both Dall and Granger were actually gay in real life, as was screenwriter Arthur Laurents — even the piano score played by Granger (Mouvement Perpétuel No. 1 by Francis Poulenc) was the work of a gay composer. Granger’s role was first offered to another homosexual actor, Montgomery Clift, who turned the offer down, probably due to the risks of coming out in public[citation needed]. Cary Grant turned down the part of Rupert Cadell for similar reasons. Leopold and Loeb, whom it has been suggested that Phillip and Brandon are based upon, were also gay[citation needed].
In Hitchcock’s Films Revisited, critic Robin Wood points to several instances in the film that could be interpreted as homoerotic. He suggests the opening strangulation reflects the euphoria of an orgasm and the subsequent limpness; and Wood sees masturbatory overtones to the scene in which Brandon excitedly fingers the neck of a champagne bottle.
In Hamilton’s play, the dialogue is much more homoerotic, as is the relationship between the students and their teacher. Many of these "risky" elements were removed from the script as the play was rewritten for the film, due to the censorship of the time. Despite this, Hitchcock managed to supply much subtext which made it past the rigorous tests of the censor.
One example is how Hitchcock makes plain the sexual nature of their relationship, as well as each character’s role, at the very start of the movie with the first lines of dialogue spoken. Directly after the murder, while both men are standing, Brandon wants to get moving to arrange the party — but Phillip, shocked and drained by what they have just done, asks if they can’t "just stay like this for a while." Brandon agrees, then lights a cigarette. This mirroring of post-sexual dialog is immediately identifiable, and also indicates that Phillip’s role in the relationship is that of the female submissive archetype, while Brandon’s is that of the dominant male.
Four other films, Compulsion, Swoon, Murder by Numbers and RSVP were also based on the Leopold and Loeb case.
Much of the film is based on the idea that one might murder someone just to prove that one could. Some film scholarship has found links between this idea and literature and philosophy. Suggestions have been made that Crime and Punishment and its protagonist Raskolnikov form a subtext to the film — whereby the film parallels the idea of murdering just for the sake of performing the act. References to Nietzsche abound throughout the film — particularly to his idea of the overman. However, Nietzsche’s concept of the Übermensch is much more complex than that of Crime and Punishment, and for Mr. Cadell to draw a parallel between Hitler and Nietzsche can only be the result of very selective readings of him.
- R.S.V.P., a film which borrowed several key elements from Rope, and in which the film is discussed.
- Peter Wollen. Rope: Three Hypotheses. Alfred Hitchcock Centenary Essays.
- ^ Interview with Arthur Laurents in the making-of documentary, Rope Unleashed
- Rope at the Internet Movie Database.
- Rope at the TCM Movie Database.
- Rope at Rotten Tomatoes.
Categories: All articles with unsourced statements | Articles with unsourced statements since December 2007 | 1948 films | American films | Color film noir | English-language films | Films based on plays | Films directed by Alfred Hitchcock | Film noir | Films set in New York City | Films shot in Technicolor | LGBT-related films | Psychological thriller films