Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness.
There was a problem filtering reviews right now. Please try again later.
The amazing thing here is that Mr. Hitchcock actually created an experimental work, released to the public disguised as a standard film. It's not a whodunit--we see who the culprits are in the first scene. The only mystery is, are they going to get caught. More interestingly, breaking of the fourth wall is a genuine technical tour de force, with the camera(s) gliding past the seeming narrow doors gliding from living room to foyer to dining area in one smooth take. I also was aware of the ceilings that may have had to be swung away to provide for the technical crew. The drama kept the viewer's attention throughout, even with the limited "one room" set, with the close ups carefully placed for maximum impact. The cast was uniformly fine, working in perfect synch with one another. Hume Cronyn's adaptation of Arthur Laurent's script was smooth and balanced. Mr. Hitchcock had total control of the production, with everything from set to costuming worked to perfection. Finally, the technicolor lent a air of east side penthouse glamor to the otherwise sordid action of committing the perfect murder of "an 'inferior.'" A true classic worthy of multiple viewings.
A must see, insofar as Hitchock made the film in 10 takes, cleverly using the backs of actors to cut between takes. The film itself is extremely intriguing and provocative, a sort of modern day retelling of the 1924 Leopold & Loeb "thrill killing". In this case, John Dall and Farley Granger play two self described brilliant young men (and a thinly veiled gay couple) who, via a piece of rope - hence the title - strangle David, a less accomplished colleague they didn't feel "worthy of living". Dall plays Brandon, the controlling member and more sociopathic of the duo, and Granger is the sycophantic, more sensitive one, Phillip. We see the murder right off, and the guys then hide the body in an old wooden chest in the living room of their very cool NYC apartment with a view, just prior to a dinner party they are throwing. The film takes place all in that living room and the adjoining dining room. There are numerous interesting characters who soon populate the film, including the murdered guy's girlfriend and father! But most fascinating is the duo's former college professor, Rupert, played by James Stewart. We learn that Brandon had distorted Stewart's philosophy about "super men" who have a right to murder lesser humans, supposedly inspiring the murder. In the course of the story, we slowly see Rupert's suspicions mount. A fantastic cast, with great Hitchcock touches, not to be missed.
it's been called one of Alfred Hitchcock's lesser films. on a technical level, maybe, but on a philosophical level it really is one of his more intriguing. it's technical issue, in a nutshell, is as follows: it's based on a play, and Hitch wanted to replicate the experience of said play. he particularly wanted it to feel like it had been filmed in a single long take, which he never quite pulls off, although he gets closer than some might say was possible. so it doesn't flow quite as seamlessly as, say, Rear Window or North By Northwest. some have called it his most sluggish film, which is interesting considering that, at just over 80 minutes, it's one of his shorter ones. so on that basis maybe it's not his most accomplished film. but on the other hand, the piece itself is one of the most compelling he ever used. Hitch was right at home with this sort of material, and he makes it positively chilling when it really counts. the play in question, Rope's End by Patrick Hamilton, is not so subtly based on the case of Leopold & Loeb. Nathaniel Leopold and Richard Loeb were college students who in 1924 took the musings of philosopher Friedrich Nietzsche just a little too far. they were fascinated with Nietzsche's concept of "Ubermench," meaning Superman in the elitist rather than Clark Kent sense of the word. finally convincing themselves they qualified and were as such entitled to certain things, they put the theory to the test with the murder of an "inferior." (there's been conjecture that Nietzsche owes a significant spike in his fame to Leopold and Loeb, that he might otherwise be remembered today as one of those old-fashioned authors remembered only for students being forced to study them.) in their place the film gives us Brandon Shaw (John Dall) and Phillip Morgan (Farley Granger). having finally worked up the nerve but about to host a dinner party, they stuff their new cadaver in a chest for the moment. shortly, Brandon gets the idea that it would be amusing to actually serve dinner at said chest. one "theme" that comes up in frequent discussions, but manged to slip passed me completely, is the suggestion that our killers are a homosexual couple. that would literally never of occurred to me, and not just because The Hayes Office would've vetoed any overt suggestion. it just doesn't gel with my perception of them. the way i interpret their relationship, Brandon is a charming but devious manipulator, and Phillip is the manipulated innocent who'd give anything to get out but is in too deep to turn back now. of course we all know couples have their tiffs - 90% of all sitcoms depend on 'em - but this is no tiff, it's a battle of wills. or, as Brandon puts it, "which is the cat and which is the mouse?" though headliner, Jimmy Stewart has a peripheral role as a former college professor, in fact the one who introduced these two to the Ubermensch concept in the first place. he gives one of his most profoundly tragic performances, glibly detailing the Nietzschian ideals during the party, only to be horrified to later learn he's been taken literally. "who are you," he preaches accusingly, "to say who's inferior?" one interesting anomaly to this film is the question of director's cameo. it's become something of a cliche in recent decades, but when Hitchcock originated the idea it was so out-of-the-blue that it became one of his trademarks. people were actually scouring the movies for him, much as Marvel audience keep a lookout for Stan Lee these days. well, where exactly does one cameo in a film set entirely in a single apartment? his first idea was to use his self-portrait silhouette, the one that later served as mascot for his tv show Alfred Hitchcock Presents, as a flashing neon sign out the window. ultimately deciding that might be a bit obscure, he decided to walk by the front of the apartment building during the opening credits...which would've been fine if the camera hadn't been like a mile up in the air. so this film has two cameos, but it's highly debatable whether either actually registers. so it may not be his best made film, but it has it's moments as well as it's ideas. enough more works than doesn't work to make it worth the effort. if nothing else, it's noteworthy for being Alfred Hitchcock's very first film in color.
Reviewed in the United Kingdom on November 5, 2019
A nice blu ray version of an underestimated classic. Although still betraying is theatrical origins it is both tense and entertaining (and due to Hitchcock’s sly humour even has you partially rooting for the villains of the piece). Less a whodunnit than a will they get away with it. More than a simple exercise in style ( with the play being shot in a seemingly single, but in reality a number of 10 minute takes) . A worthy companion to the later and more illustrious Rear Window. One star deducted because of the absence of meaningful extras ( although it does contain a short making of documentary with the participation of Farley Grainger. Recommended.
Reviewed in the United Kingdom on February 18, 2015
Released in 1948, yikes, and the first colour film for hitchcock rope is a daring film that pushes a few boundaries and adds good suspense which hitchcock was famed for. The acting is first class from start to finish. not a very long film but a skilled,brooding film that looks and acts like a play which was the very intention. Its interesting when you read back on the film and learn about it and how some citys didnt show the film because of the implied homosexuality in the film, to be fair i can see how it can be viewed but it was a different world then and it was illegal as i understand it. This is a great film, really enjoyable , clever and quality.
5.0 out of 5 starsUnder rated Hitchcock film. Classic!
Reviewed in the United Kingdom on April 28, 2013
Rope is certainly not viewed by some critics as one of the high points of Hitchcock's glittering career. It usually languishes along with the likes of Lifeboat, Spellbound and other 'not quite there' Hitchcock films. However to look over this gem would be to miss out on one of Hitchcock's finest suspenseful thrillers.
Rope tells the story of two gay men (you certainly weren't allowed to say they were gay in the film in those days... or even outside of it) who's delusional belief in a theory of superior beings leads them to murder their friend David, who they believe inferior to their intellect. On the face of it a bit daft, but then we learn more about their devotion to their teacher (Jimmy Stewart) who taught them all about the idea of superior beings and the worthlessness of their 'inferior' counterparts.
The two men throw a party, with the body of the friend David dumped in a large chest, (unbeknownst to their party guests) to further 'celebrate' what they've done. Two of the guests are David's father and his girlfriend who become more and more concerned that David is late to the party. As too does the former teacher (Jimmy Stewart) who also has an invite. The plot moves forward with the two men finding it hard to conceal their growing guilt and suspicion growing.
I think the best part of this film it's a slow build. Hitchcock doesn't give us suspense overload he slowly introduces new pieces of the puzzle. In this way our sympathies for the characters change over the course of the film. The two leading actors (Granger and Dall) do a perfect job of showing the eventual change guilt has on them. Jimmy Stewart is almost the 'detective' attempting to slowly unravel everything he sees and hears. But more than that even his character changes with the events that unfold.
It's so beautifully acted and scripted (taken more or less from the excellent play by Patrick Hamilton) that you can't help but make this one of your favourite Hitchcock films (even if Hitch was less than sure about it himslef).
5.0 out of 5 starsRope is in my top 5 favourite Hitchcock films
Reviewed in the United Kingdom on November 4, 2013
This is one of Hitchcock's best films in my opinion. It happens to be my 4th favourite of his. What makes this film so enjoyable is the suspense. Knowing that the dead body can be discovered at any moment really makes the tension almost unbearable, but it's on the edge of your seat stuff done perfectly. James Stewart is really good in the role as the hero character, and the performance from John Dall as the determined and self-confident perpetrator of the killing, along with the performance from Farley Granger as the reluctant and nervous accomplice makes for a good contrast. Overall, Rope is a great Hitchcock film, and out of his one location based films (e.g. Rear Window, Lifeboat, Dial M for Murder, etc.), this is my personal favourite.
3.0 out of 5 starsA film to like and dislike, simultaneously
Reviewed in the United Kingdom on January 19, 2015
Rope is a weird animal, a film it is easy to find flaws with, primarily the locked-down, stage-like quality of it. On the other hand the same limitations makes it interesting as an experiment, though far less so than, say, Dial M For Murder, and for a Hitchcock fan it is a must to own. The DVD quality is very good, with good, as far as I can tell, color reproduction.
Reviewed in the United Kingdom on October 21, 2013
I can't understand why this sometimes gets criticism from film critics, its a brilliant little film up with Hitchcock's best, Rear Window Vertigo, North By Northwest riveting from the opening seconds to the end. Jimmy Stewart's performance ( starting with his sudden appearance by the piano ) is magical.
Reviewed in the United Kingdom on December 17, 2012
Probably my favourite Hitchcock movie. Tense and disturbing. The story behind the movie is interesting because of the problems dealing with the implied homosexuality of the protagonists in a very US that generally couldn't deal with such a subject when the film was made. Jimmy Stewart is once again the star - what a great actor!