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.
The normal line on Rope is that the long takes are a magnificent stylistic experiment, but the story is limp. Don't believe it. See it on the big screen, and the style and narrative will coil around one another to create an unsettling chamber drama that mines Hitchcock's morbid streak, usually covered by comedy, for all the squirming tension it's worth. The biggest exposure of his dark side before Vertigo.
A technically audacious film, brimming with philosophical and psychological concepts, such as Nietzsche's "Ubermensch", as well as being littered with Freudian allusions. It may not be one of Hitchcock's most satisfying films to watch, but it is one of his finest, nonetheless.
All I want is for these annoying characters to die in a pit of inferno. STFU. I don't want to hear about your bullshit Freudian theories. This is not Crime and Punishment and Hitchcock is no Dostoyevsky.
Brandon is a charming slime ball. I love the whole set up of eating dinner on a trunk containing a dead body. Morbid, but appealing; Hitch always knew how to play his audience like a fiddle and twist their expectations. And by confining the action to a single room he ratchets up the tension, the claustrophobia sets in. This is what a movie like Hard Candy went for but got bogged down in its own sensationalism.
Despite the stodgy restrictions of a single room, this is a technically and thematically daring piece of cinema savant. The deliciously camp and arch playing of Dall and Granger, primped and preened, carry the gloriously sick joke with relish as does the Director with as many lip snacking dark touches as he could get away with (the opening jump cut still shocks).
Perhaps Hitchcock's finest moment, a surreal blending of theater and cinema. Sound and image become one. Articulate dialogue. With scenes such as Brandon playing with the rope once used to kill, a metronomic rhythm increasing to correspond with Phillip's anxiety, and invisible spaces coming to life by voice-over storytelling, this is truly exemplar of a master at work.
99/100 - Masterful.