Review of Rope (1948) by Budge B — 13 Apr 2009

Two over-privileged young men commit the perfect murder. Their victim's body is hidden in a large trunk. They invite friends round for a small dinner party, amongst them their old tutor, Jimmy Stewart, the man who once claimed that some people have the right to commit murder ... the man who is most likely to expose their crime. They aim to subject themselves to his inquisitorial intrusion ... just to add a bit of spice to the murder. All this we learn, all this we are given. The tension in the film, the drama, lies in whether or not they will be caught ... and, if so, how?

"Rope" is wonderfully transparent in the way the drama is structured ... you can see the clues being put neatly into place, like a master builder placing brick upon brick. There is a famous Chekhov adage that if, in a play, the audience can see a rifle on the wall in Act One, it will have to be used in Act Two. In "Rope", a whole arsenal of weapons is hanging on the wall. You know why they're there, you don't know when they'll make their entrance into the plot.

Hitchcock films this story in what almost appears to be one long, long take ... as if he's just recorded a live stage production. The lack of cinematic sophistication only adds to the tension. It creates a sense of claustrophobia. The actors seem to be left to speak for themselves without the aid of rapid cutting or dramatic close ups. Words and action have to sustain the plot.

The camera work is simple - it follows the action. There is a magnificent scene where the surly maid clears away the dinner dishes. The camera follows her movements, almost intrusively, as she walks on and off the set, slowly removing the dishes. Tension mounts. Surely, she must discover the body next time?

Watch the background. The action takes place in a studio flat with a huge picture window at the back. As the drama unfolds, night slowly falls over the New York cityscape. Ominous clouds take on a Daliesque prominence, hugging the skyscraper silhouettes. It gives a real sense of time passing ... and impending doom.

And James Stewart plays a wonderfully understated role. He uncovers not a murder, but his own sense of guilt at suggesting that someone might have the right to kill. The melodrama is swept away. Suddenly we have a fragile human being caught up in his own intellectual trap. Thrown centre stage, Stewart's portrayal is superb.

A magnificent, and highly unusual movie.