Didnt notice until now that Hitchcock's ROPE has some odd qualities. All the players seemed on edge - acting too quaint not to commit a mistake. Most conversations were heavy-handed. And the moment Jimmy Stewart walked in - "miscast" was written all over him.
A chest is not a chest, and a rope is not a rope. The function of things are perversely twisted in this thriller, but the smooth camera movements and elegant framing mask the dark undertones and make the film "perfect." On a technical level, the long takes are indeed impressive, but also look for a few abrupt cuts and how it shifts the tone of the film.
"To David, of course." All this philosophizing about the nature of art. The lack of cuts, the stage-like apologetics, the homosexual undertones, the bourgeois dialectics -all so self involved and all too personal for the performances. I applaud its existence, but this is a dangerous film. The piece turns on itself. "Small print, big words, no sales."
Filmed as a play, this film has some interesting and inviting aspects but, in some cases, becomes totally unappealing. Sincerly, I wished He kept the two main characters as a couple (as in the play), the supposly case between the professor and one of the boys and the body inside the ark a mystery (the viewers would have to ask themselves: "Is there really a body in there?" - this would create that needed tension).
Sensazionale.Un originale esperimento tecnico, un artificio che permette allo spettatore di essere direttamente nell appartamento,come se spiasse dal buco della serratura lo svolgersi degli eventi.Le carrellate sui volti dei protagonisti e il crescente nervosismo che si deduce dai comportamenti sono elementi inseriti in maniera magistrale;appare evidente anche la critica ad una certa"elite intellettuale".4*
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.
Of the 13 I have seen, it is the hands-down worst Hitchcock movie. It is juvenille, immature, and it believes its audience is full of idiots - telegraphing all its themes in overt, unbelievable, long-winded and preachy tirades. Two moments are great - the roving camera while Stewart theorizes, allowing imagination to take over and when the maid is clearing the table.
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.