A group of friends are welcomed into the apartment of Brandon and Phillip for a dinner party. They catch up and celebrate as food and drink are served from a chest in the centre of the living room. Little do the guests know, the missing guest David, is lying dead in the very chest that they’re eating over. Alfred Hitchcock’s first motion picture in technicolour avoids his usual spy thriller tropes and noir mysteries for an understated, dialogue heavy masterclass in suspense cinema.
Taking his earlier ideas from Sabotage (1936) where a boy unknowingly carries a bomb onto a bus. Hitchcock puts audiences in a similar position as we watch these characters enjoy a dinner party next to their dead son, friend and fiancé, David. Along with a wittingly funny script full of double entendres that often cool the awkward tension between the characters, Rope (1948) is full of excellent performances. John Dall’s Brandon could easily be a precursor to the likes of Patrick Bateman in American Psycho (2000) with an upper class snobbery mixed with an unabashed arrogance. Brandon needs to flaunt his ‘perfect crime’ in front of not only the victims family and friends, but also his former teacher, James Stewart’s Rupert Cadell. Interestingly Cadell shares similar ideology to Brandon, the ‘Superman’ theory by Friedrich Nietzsche. Part of this theory is that people of superior intellect shouldn’t be morally judged for murdering what they consider to be people of inferior intelligence. Cadell also occupies this space in society as an intellect.
James Stewart acts way above his years in this film with a subtlety that is often overlooked as one of his best roles. His character’s inquisitive nature and intelligence puts him a step ahead of the other guests as he quickly starts to realise that this dinner party has a menacing undertone. Stewarts late arrival into the film gives time for Brandon and Phillip to manipulate and control the party. Arthur Laurents’ dialogue is full of humour and witticisms as Brandon in particular, waves his crime in front of his ignorant guests as Phillip, becomes increasingly panicked.
Phillip is arguably the films stand out performance from Farley Granger. Of the two murderers, Phillip starts the film clearly affected by their murder and becomes more worried, drowning his guilt in scotch and brandy. Phillip has a depth that Brandon lacks, Phillip is tormented by their actions and of the consequences. He maintains a semblance of humanity throughout the piece but is fuelled by his love for Brandon. It isn’t until the movie reaches its crescendo that we see Grangers performance peak. Although the film is often a tete-a-tete between Rupert Cadell and Brandon, it’s Phillip that keeps the tension at a high. His worries and guilt-ridden face are a constant reminder to the audience of how sinister the dinner party is and how close they are to being caught at any moment.
Most impressive with Rope (1948) is Hitchcock’s ability to cut together 9 reels of film (which at this point in time were 10 minutes each) in an attempt to make the whole film look unedited. Although often noticeable by a zoom into a blazer, Hitchcock’s attempt at such a project so early on in the history of cinema is a feat to be admired. Although never easy, today, audiences can often see long takes in the works of Alejandro Inarritu (The Revenant, Birdman etc.) but the hardship of doing this with such huge cameras can’t be overlooked. On first time viewing audiences may not notice the majority of ‘cuts’ because they are hidden, but Rope (1948) is a movie that rewards multiple watches. Perhaps, it's the flawless production design that would be often overlooked . It may not look as extravagant as some of today’s features but with Rope (1948), what is happening off-screen is often impressive but hardly noticeable. With walls that could be manipulated, and furniture that would have to be easily moved to avoid the cables from the huge camera, it is admirable that they could accomplish such impressive cinematography. This isn’t just a gimmick though, Hitchcock uses the camera to make audiences feel a part of the party, the camera moves often independently of the characters on screen and on occasion has nobody in the frame. A particular highlight is watching Mrs. Wilson, the maid, undress the chest of its decoration. Hitchcock holds on the shot as we hear the other guests talking and Mrs. Wilson becomes closer and closer to revealing the dead remains inside.
In the documentary, Rope Unleashed (2001), Arther Laurents suggests that the premise of homosexual murderers is what interested Hitchcock the most about the project. Although because of Hollywood censorship at the time, it’s never overtly said that Rope’s (1948) deadly duo are gay men, but their chemistry and living situation often suggest they are. Similarly, the actors, Farley Granger and John Dall are also believed to have been homosexual, with apparently Cary Grant turning down the role because he didn’t want to be associated with a homosexual performance. Perhaps what is most notable is the movie's naturalistic performances. Arguably, homosexuality isn't presented in more of a progressive way for another few decades in Hollywood.
Rope (1948) might not have the action and galavanting of North by Northwest (1959), or the noir intrigue or Strangers on a Train (1951). What it does have though, is a tightly woven story that is depicted so sharply that it’s a must see for anyone who loves suspense movies. Hitchcock is in his element. Every aspect of the film is used to give an underlying tension. With every joke and double entendre, the risk of the duo being caught is heightened. With every movement of the camera, Hitchcock makes the audience feel at home in the apartment, only metres away from a couple of murderers and their victim. Hitchcock’s chamber piece is a classic from every perspective but seems to often be overshadowed by his more successful works, and, that’s why Rope (1948) is Alfred Hitchcock’s most underrated film.
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