I think the long take idea works really well-the tension implicit in the script is shared in the tension imparted by not making a cut. We are aware of the extra-filmic event of actually filming: when's the cut!? There is no room to breath because of this. Ultimately to talky of a pic for me, but I think if we look at the murder as an allegory for closeted homosexuality, this becomes a more emotionally charged story.
This is a whimsy reading of "Crime and Punishment", where the idea resembles this plot: the thesis that superior men are allowed to murder inferior men because they're self-justificatory above the moral standards. In the end, we find that Brandon twists this words and his killing his done only by its self-proclaimed power and narcissistic vanity: "The power to kill can be just as satisfying as the power to create".
Very entertaining, but sometimes it stretches a bit too much. Some of the techniques such as the back moving in front of the camera in order to cut haven't really aged as well as maybe Hitchcock thought. James Stewart was still a great choice for the lead though.
Rope has been called a stunt by some, but the spectacle of trying to "get away with 'it'" is highly entertaining, from the murder to the explicit relationship. When adjusting to the dated speech, remember these sort of one-liners & ripostes once defined Broadway wit. One knock is Hitchcock's awkward attempts to use brief close-ups to simulate continuity; they're distracting rather than subtle and affective.
It's very simple and quite clever. David Fincher can only wish he'd made Gone Girl as witty as this, without trying so hard. I don't know why I made the comparison...Gone Girl just irritated me so, but when you watch a classic Hitchcock film such as Rope, you are reminded that one does not need to resort to forced 'cleverness' or 'complexity' to make something gripping and thrilling.
Para ser sinceros, los extensos planos secuencias resultan casi caprichosos e ingenuos (esas transiciones a negro con personajes cubriendo el cuadro). Sin embargo, el debate filosófico que plantea la película acerca de la pertinencia de valores como el bien y el mal, sigue siendo, cuando menos, estimulante.
Pace Vito Russo and his important but limited work, what a welcome unburdening queer liberation performed for "bad" gay or quasi-gay characters in cinema, in this and CRUISING, for the best examples. The mise-en-scene and uses of (re)composition and sound here are quite impressive, and, to mimic John Waters (who was the first writer to point it out to me), I'd give it an extra 1/2 for that stunning matte skyline!