Alfred Hitchcock, “the Master of Suspense,” is one of cinema’s most legendary directors with a career spanning the silent era through the 1970s. An innovator in horror, thriller and suspense, he pioneered the first slasher film (“Psycho”), voiceover inner monologue (“Murder!”) and the dolly zoom effect (“Vertigo”). “Rope” (1948) is one of the less-discussed entries in Hitchcock’s canon, but it is nevertheless a standout, being a technical marvel and presenting content still disturbing and thought-provoking more than 75 years after its release.
“Rope” was inspired by a real-life murder case involving two students who, inspired by philosopher Friedrich Nietzsche, attempt to commit the “perfect murder.” This was the basis for Patrick Hamilton’s 1929 play “Rope,” which Hitchcock adapted for film with a screenplay by Arthur Laurents (“Anyone Can Whistle” and “La Cage aux Folles”). “Rope” was one of the “The Missing Hitchcocks” removed from circulation between 1968 to 1983 due to copyright disputes. It stars frequent Hitchcock collaborator James Stuart (“Vertigo” and “Rear Window”), John Dall and Farley Granger.
The film follows the aftermath of the murder of a young man, David, by two of his peers (Dall and Granger) who are convinced they can commit the “perfect murder” and get away with it. After hiding the body in a chest in their apartment, the murderers host a party, inviting the victim’s father, aunt, best friend, schoolmaster (Stuart) and girlfriend. Rather than being a whodunnit, “Rope” is a tense “how-will-they-get-away-with-it.” There are several times when the murderers slip up, heightening the suspense. In one scene, the titular rope (the murder instrument) is used to tie a stack of books given to David’s unknowing father. Slowly, Stuart’s character begins to connect the dots, leading to a tense finale.
From a technological perspective, “Rope” is noteworthy. The film was Hitchcock’s first color film. Additionally, it features the gimmick of looking like it was filmed in one continuous take. Given its stage show source, Hitchcock wanted it to feel like a play, showing one scene in real time. Due to film’s constraints in 1948 — the film reel could only hold up to 10 minutes of footage — the movie couldn’t be done in one long shot. Rather, the film is 10 takes edited together to give that illusion. Hitchcock used clever transitions, such as extreme close-ups, to mask the cuts. There are only four unmasked cuts. When the film was shown in cinemas, the projectionist had to swap film reels every 20 minutes, so Hitchcock decided to use these as opportunities to switch camera placements, deliberately not attempting to hide the cuts.
Hitchcock famously cameoed in many of his films, making silent, brief and often comedic appearances (such as leaving a pet shop at the beginning of “The Birds” or missing a bus in “North by Northwest”). With the limited set and cast of “Rope,” Hitchcock’s cameo is harder to find and disputed. The opening credits feature the sole shot outside the apartment: an aerial view of a street with many pedestrians. It is plausible that one is Hitchcock; however, due to low quality film, it is impossible to say for sure. Around the 55-minute mark, a neon sign in the shape of Hitchcock’s silhouette — the logo for his television show “Alfred Hitchcock Presents” — can be seen through the apartment window. The issue here is that the silhouette logo wasn’t created until the 1950s.
On April 4, DPAC hosted the Solomon Gottfried Trio from Brooklyn to play a live score to “Rope.” “Rope” has a minimal soundtrack, excluding the opening titles and diegetic piano music. Rather, it opts for eerie and unnerving silence. Gottfried respected this unnerving silence several times, especially during many of the more disturbing scenes including the monologue about Nietzsche and the murderers’ motives. The silence was deafening, and the sudden lack of music — something previously constant from the group — drew attention to the conversation. When there was a soundtrack in the film, the trio played along and improvised off it; the two scores didn’t feel competitive but rather complimentary. The jazz genre accompanied the 1940s vibe of the film and put me in mind of the actual jazz-inspired scores for other Hitchcock films, like “Rear Window.” The trio used many techniques that created an uneasy and suspenseful atmosphere in their music, such as manipulating the upright bass’s strings to create otherworldly and unnerving sounds. Much of the music was also improvised. Overall, the live score was brilliant and enjoyable, providing a perfect complement to the film.
If you are a fan of Hitchcock’s work or the crime and thriller genre writ large, I cannot recommend “Rope” enough. Despite its age, the film holds up, both in plot and pacing. “Rope” truly is one of the greatest entries from the Master of Suspense!
