ROPE

US, 1948, 81 minutes, Colour.
James Stewart, John Dall, Farley Granger, Enid Evanson, Cedric Hardwicke, Constance Collier, Joan Chandler, Douglas Dick.
Directed by Alfred Hitchcock.

Rope was Alfred Hitchcock's first colour film. It was made after his success with Spellbound and Notorious. (There are humorous references to Cary Grant, Ingrid Bergman and Notorious in the dialogue.) The film was based on a play by Patrick Hamilton, author of Gaslight. The film was noted for its experimental technique: ten-minute takes (the length of film stock) to give the impression of continuous action. Hitchcock had a lot to say about the intricacies of moving walls, the difficulties of recording sound with such movement - and he didn't use the technique again. However, the technique is useful for the play which is set in one room.

The film was based on the Leopold- Loeb murders (as was the 1959 Richard Fleischer film Compulsion). Two homosexuals, with a philosophy of elitism (supermen having power to eliminate inferiors) commit a murder for the art and the excitement. They invite the parents of the dead man to a party, using the chest with his body as the table for serving. This still seems quite macabre - and must have made an impact in the '40s. Their old Prep master, who vocalised such elitist thoughts, attends the party and uncovers their secret. Finally challenging them and declaring that they had put a meaning into his words that he never intended. James Stewart is excellent as the master. John Dall and Farley Granger (who appeared in Hitchcock's Strangers on a Train) convey the suave intensity or artistic nervousness of the two men. The supporting cast is excellent, especially Cedric Hardwicke as the dead man's father and Constance Collier doing a Florence Bates impression of a would-be socialite. Rope was one of the lost Hitchcock films and was released to great success in the early '80s.

1. The work of Alfred Hitchcock: interest in crime, thrillers, psychological motivation, the taking of life, guilt and responsibility? As illustrated in this film?

2. Hitchcock as a master or technique: his first colour film, the contemporary atmosphere of the '40s, the New York street, the apartment, the use of the New York skyline and its changing evening colours, the atmosphere of the chic party? An atmosphere for such a murder thriller?

3. The musical score, the piano theme - and its use for Philip's character, for nervous atmosphere throughout the film? The ending?

4. The film as the adaptation of a play? Confined to one room? The effectiveness of the ten-minute takes - the roving camera, following the characters, the various devices possible for characters to move around the camera, for the re-creation of David's death? The linking movements and darkness for continuity?

5. The strength of the cast? The variety of styles? The two young men and the contrast of self-confidence and nervousness, Constance Collier and the snobbish humour, Cedric Hardwicke and an atmosphere of realism and pathos? Joan Chandler as a strong heroine? The maid and her humour, mothering, complicity? The authority of James Stewart's presence?

6. The style of the '40s: New York, reference to clubs, universities, prep-schools, the aftermath of World War Two and reference to Hitler, studies, the references to films and stars- James Mason, Cary Grant, Notorious and Ingrid Bergman, musicals? Fashion, diet, magazines like Allure? Hitchcock and comedy - and tongue-in-cheek observation and critique?

7. The credibility of the events: the background of the Leopold Loeb, killing? The arrogance of the two young men, the reference to the philosophy of Nietzsche, Hitler and the Nazis and their elitism? Criteria for elitism, for superiors and inferiors? The difference between theory and acting? The relationship between the two men? The background of homosexuality? Dependence, need, which of the two needed the other? Discussions of Freud, psychoanalysis and motivation? The contrast between logic, clarity of concepts and emotional, emotive reasons?

8. The opening and the atmosphere of the New York street, the closed curtain and the scream and its effect on the audience? The sudden impact of the visuals of the strangling, the corpse bundled quickly into the chest, the breathing and reaction of the two men? The audience somehow in complicity with the crime?

9. The brevity of the film and the confinement to the apartment? The change of time? The New York skyline and the gradual darkness? Tension - bizarre action, cruel action, the two men and the way that they were coping, in themselves, with each other? The audience aligned with them because they had shared the crime? Mrs. Wilson and her return, possibilities of discovery? Rupert and his talk, theories? The men thinking he was on their side? Rupert as detective? The techniques of the unravelling of the crime? Rupert's disbelief and audiences sharing his work, his attitudes, discovery? An appropriate culmination of the evening with Rupert's speech, the firing of the shots? The positions of the two men (one drinking, one nervously playing the piano) for the finale?

10. The relationship of the two - was each capable of killing his friend by himself? The theory of elitism? Philip and the story of strangling the chickens? Philip and his temper -.but the killing of fowls being so different from killing humans? Brandon and his cruelty, manipulation, excitement? Mutual need? Brandon needing Philip as audience?

11. The importance of the dialogue of the film: the amount of talking, sharing of ideas, the perfect crime, experiencing murder, murder as fine art, the touches for the masterpiece? The effect of these touches on audience emotional response? The theory and the use of power, violence? Learning from Rupert? Rupert's conversation and Brandon's exulting? The theories of European elitism transferred to affluent, America?

12. Audience belief that the men could commit this crime? The way that they spoke, the way they bolstered their beliefs? Rupert's smart talk - metaphor for human relationships- and belief in human nature? The examples that he used? Brandon trying to justify himself to Rupert? Rupert's condemnation of Brandon? Rupert's ideas about humanity, a grim view, his belief in logic and clarity, his being shamed by their behaviour, the difference between theory and reality, the criteria for responsibility, Rupert's condemnation of Brandon as thinking he was God? The significance of Rupert's speech about humanity and human rights?

13. Themes of guilt, responsibility, sin and expiation? Brandon - any sense of guilt or responsibility? Philip? Rupert's ultimate responsibility for the death of David? His action in firing the shots and waiting for the police to take the two men?

14. Brandon as suave, exhilarated in experience, strongly controlled, his smile and poise? Leading Philip? Taunting him? His power over Mrs. Wilson and smoothly organising her help? His touches for the macabre party: the use of the chest, the use of the rope for tying the books, the relationship between Janet and Kenneth, manipulating Janet, manipulating Mr. Ketley? Manipulating Rupert? The gun and its discovery? A brittle facade? A strong theoretical plan - which immediately failed? His standing drinking at the end? His cruel vision - no more than that of a petty and cruel boy?

15. The contrast with Philip and his artistry, sensitivity, belief in the theory, influenced by Brandon, committing the crime, an audience for Brandon, his growing fears, nervousness in behaviour and speech, cutting his hand, being questioned by Rupert, his gesture and postures? Collapse, drinking? Fear and yet not afraid of Brandon? The final piano-playing?

16. James Stewart as Rupert? His reputation, sudden arrival, his background with the men, his cracks, smart talk? His treatment of the boys when they were children? His theories about elitism - especially with Mrs. Attwater? The humorous jokes about the films and the musicals? His shrewdness, listening, interrogations - with Philip and the metronome? His direct questions? Suspicions. fears, seeing David's hat? The discussions with Mrs. Wilson? The leaving of the cigarette case? The return and planting it? Talk, drink, speculation. the reconstruction of the crime (and the camera movement),, the confrontation, the gun, his denunciation of the men? The shots into the air? His being shamed into action?

17. Janet as the smart young woman, strong, her work, relationship with Kenneth. with David? Chic? The magazine? Her interchanges and jokes. humour? The confrontation with Brandon? Sympathy for Mr. Ketley? Her leaving with Kenneth? Brandon manipulating her - but having the story about the relationship with Kenneth wrong? Kenneth as a plant, being used by Brandon? Relating well to Janet - the sincere talk and reconciliation?

18. Mr. Ketley and his sadness, a genial but quiet man, concerned about his son, his wife? Well mannered? His listening to the talk about murder? Not knowing whether it was real or not? Asking them to stop? Looking at the books? Audience emotional sympathy for him?

19. Mrs. Attwater and her style, talk, humour - and her being mocked?

20. Mrs. Wilson - her real concern, fussing, supplying information, the clearing of the chest and her being about to open it, her information to Rupert? A strong characterisation?

21. The touches of humour - the blend of corn, irony, the macabre? ironic and double-meaninged statements? Mocking of New York society? The chest and the rope and the macabre touches? The humour shaping audience response?

22. The final effect of the film - as entertainment, as a moral examination of issues? In the light of Hitchcock's other films?