Rope (1948) Review

Fig 1. Rope (1948)

Introduction

This review looks at how the 1948 film Rope by Alfred Hitchcock constructs its tension and suspense
using a disguised continuous shot as well as exploring the similarities between it and classic film noir.
The technical and visual aspects are examined thoroughly; with sources credited to support claims
including an interview with the director Alfred Hitchcock, a mainstream news site The Guardian, and
a website specialized in documenting academic publications.

In Alfred Hitchcock’s Rope (1948), a seemingly continuous long take is used to give the impression that
the film takes place in real-time and the events within the film appear to last longer than within the
timeframe of over 1 hour and 20 minutes as it would initially suggest. The sense of time can be felt
throughout the film from when the two friends strangle the life from the character of David Kentley
to the moment their judgement is certain from when Rupert Cadell (James Stewart) fires the revolver
to alert the authorities. This is very much enhanced by the ordain matte paintings of the shifting clouds
and towering skyline in the background. The use of lighting and mise-en-scene to connote the passing
of hours in the dusky evening.

Fig 2. Still from Rope (1948)

The use of continuous shot, while not seamless, allows for a slow but gradual build-up of suspense
throughout the film as the minutes drag on and the guests crowd the room while the chest containing
a dead body remains still and visible. Coupled with the feeling of time and the information given to
the audience. In an interview, Alfred Hitchcock himself stated to succinctly generate tension within a
scene: “Now take the same scene and tell the audience there is a bomb under that table and will go
off in 5 minutes”, “the whole emotion of the audience is totally different” (Hitchcock, 1970). This very
evident as the audience themselves almost act surrogates or witnesses to the main characters
Brandon Shaw and Phillip Morgan. The audience eagerly anticipates whether the two will be caught
due to the knowledge that they are the ones who committed the murder.

Such as Hitchcock’s version of the bomb scenario, the audiences fear and apprehension are piqued
when the guests discuss trivial matters and are completely unaware of the murder for the duration of
the film; there is a culminating frustration in the audience. Writing for the Guardian Pamela
Hutchinson states: “When we watch Rope, however, we know exactly what kind of sickness we're
staring at and the only question is how long we can bear to look” (Hutchinson, 2012). The suspense
turns to horror and the audience can do little to de-escalate the tension.

Fig 3. Hitchcock, actors and the eponymous chest

The film’s aesthetic is highly reminiscent of noir films that were prominent around the film’s release
and mise-en-scene helps connote a very ominous atmosphere and evocative tone. The neon signs of
bars, clubs and restaurants can be seen in the distance, reds and greens pulse and flow across the
apartment. One can imagine the origin of such lights to be from prestigious locations, such that were
depicted heavily in entertainment around the film’s release. In an article from the website Questia,
Sheri Chinen Biesen notes: “Like the moody psychological montages in film noir, Hitchcock's noir-
styled Spellbound and gothic suspense thrillers depicted psychology, voyeurism, dreams, and
nightmares as psychologists clinically treated (or became) patients” (Biesen, 2014). This statement is
very likely as the use of a seemingly continuous, uninterrupted shot connotes voyeurism, the lustful
desire to keep staring, gazing at the subject(s).
 Fig 4. Still from the film

Conclusion

Hitchcock’s Rope (1948) depicts the voyeurism of noir films through its use of a seemingly unbroken
continuous shot. The application of such a method of filming achieves the inclination of lustful gazing,
to understand more of the narrative and the setting as the events of the film and character’s
interaction unfold. The utilization of such cinematography also allows for a slow build-up of tension
and unease, becoming tantamount to the narrative and the noir-style tone of the film, further
displayed through its aesthetics.

Bibliography
Biesen, S. C. (2014, April 12). Psychology in American Film Noir and Hitchcock's Gothic Thrillers.
Retrieved from Questia: https://www.questia.com/library/journal/1P3-
3541744381/psychology-in-american-film-noir-and-hitchcock-s-gothic

Hitchcock, A. (1970, July 12). Alfred Hitchcock On Mastering Cinematic Tension. (A. F. Institute,
Interviewer)

Hutchinson, P. (2012, July 27). My favourite Hitchcock: Rope. Retrieved from The Guardian :
https://www.theguardian.com/film/filmblog/2012/jul/27/my-favourite-hitchcock-rope

Illustration list

Fig 1. Rope (1948) poster [poster] (1948) At: https://en.wikipedia.org/wiki/Rope_(film) Created on: 10
January 2019. Accessed on: 3rd February 2019

Fig 2. Still from Rope (1948) [Still] (1948) At: https://medium.com/the-nu-romantics/based-upon-a-

true-story-leopold-loeb-hitchcocks-rope-48-ef689bc1cc6b Created on: Jul 9, 2017 Accessed on:
03/02/2019

Fig 3. Hitchcock, actors and the eponymous chest At: http://haphazardstuff.com/rope-1948-movie-

review/ Created on: 05/02/2018 Accessed on: 03/02/2019

Fig 4. Still from the film [Still] (1948) At: http://www.itsyourpicshow.com/episode-98-rope-1948/

Created on: January 14, 2018 Accessed on: 03/02/2019