Rope - Movie Reviews - Rotten Tomatoes

Rope Reviews

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½ March 28, 2016
Quick and tightly wound,this is one of Hitchcock's best.
½ March 26, 2016
Rope is a fun Alfred Hitchcock film with some pretty funny dialogue at times. I highly recommend this film.
March 19, 2016
The tension gets unbearable.
February 1, 2016
Hitch's take on the famous leopold-loeb murder case & another lost review
½ November 26, 2015
Innovative direction, playful camera work, a fascinating score, a good script, some suspense Hitch couldn't help but instill in his creation, loads of macabre ironies and a decent cast. My only major dissatisfaction: Farley Granger? Come on, Hitchy!
½ November 13, 2015
Old stock clearance - 8 years in disk! ??
½ November 8, 2015
I first happened to catch this film on TV when I was about 14 and I loved it but I had no idea why. I just watched it again and it's just brilliant. it's pretty much just constant dialogue in the one location for nearly an hour and a half but it still manages to be a complete thrill ride as you await the fate of Brendan and Phillip.
James Stewart is perfect! they don't make actors like him anymore.
The camera shots and the set are just stunning. I still can't believe the view put of the apartment window is fake! it looks amazing.
Alfred Hitchcock was truly one of the best directors of all time.
Paris S.
Super Reviewer
½ October 9, 2015
Compelling suspense that is always at work, holding your attention taught as if ensnared. One of Stewart's most interesting performances. Recalls Crime and Punishment in its key argument made by the duo responsible for the murder.
½ September 22, 2015
Alfred Hitchcock's performance-driven drama is a simple picture, favouring subtleties over style, and experimentation over innovation.
The film's theatrical roots prickle through every frame and line of dialogue, and Hitchcock uses the kitchen sink setting to draw attention to his characters' expressions, cadences and shortcomings in a way seldom seen outside of courts and conviction rooms.
It's rare to see a film so wholeheartedly reliant on its actors, but when Hitch's experiment works, Rope is a bubbling cauldron of wits and weaknesses. When it doesn't, it's a circular bickering battle grounded in subtle homoeroticism.
½ September 19, 2015
Legitimately suspenseful, solidly directed, and gracefully shot, though there are a couple slipups in that last case. A straight-from-stageplay adaptation that is enhanced by what only movies can do.
September 3, 2015
Two probably homosexual intellectual socialites commit the perfect murder and have a dinner party to commemorate, but are foiled by an equally intellectual former professor in this amazing real-time Hitchcock film, his first color, that appears with superior editing to film it in one continuous shot. The ethics of eugenics and Nietzsche are put to the test, and good guy Jimmy Stewart thwarts the uppity villains
½ August 16, 2015
good, good only a little too slow
½ August 16, 2015
Almost perfectly crafted this supposed "made-to-look-like-one-take" picture from Hitchcock. It's brilliantly told though, and the suspense builds as the film moves along. It start with it's opening shocking scene and to know more before seeing this classic is better left unsaid. James Stewart and the other players at hand here work perfectly against each other. To watch it all unravel was more exciting than most modern movies, I've seen. Hitchcock shows us once again what all he is capable of making when it comes to feature films and this is no exception. Apparently this is also loosely based on a real case in history as well as a famous play from back in the 40's. What Hitchcock does here is recreates the stage to screen with long single shot takes that feel like they were all filmed in one night where everyone was spot on.
½ August 5, 2015
One of my favorite Hitchcock pictures!
½ August 5, 2015
Today's film in my ongoing Hitchcock marathon is ROPE, in what is yet another prime example of how he was able to ratchet up the tension to keep the audience completely invested in the story. This time around, two friends strangle their classmate, hide his body in their apartment, and then proceed to invite his family, friends, and former teacher to prove to themselves that they committed the "perfect murder." One thing I heard about this film way before actually watching it was that it was edited to appear as if it was filmed in a single take. While I had my reservations about this in BIRDMAN, where it often felt like a gimmick, it felt more natural here. As this was based on a stage play, the constantly roving camera helped it from feeling "stagey." I also found the central conceit (at least to the two friends) of murder being an intellectually superior act quite interesting, and the way in which James Stewart's Rupert plays off of this was rather brilliant (as they were his theories to begin with). In general, I found the performances to be solid, although not spectacular (save from James Stewart, who is always a pleasure to watch). Hitchcock did an excellent job of staging the action and slowly building the tension regarding the big elephant in the middle of the room, so to speak. On a completely random side note, John Dall (who played Brandon) and Ben Affleck look a lot alike, to the point where kept on picturing the latter in a remake (which they should never do, by the way). Overall, I didn't find this as exciting as the last two Hitchcock films I watched (SABOTEUR and SHADOW OF A DOUBT), but it had a well-executed story and a solid technical construction.
July 27, 2015
Rope is one of Hitchcock's lesser known and underrated -- yet very
brilliant -- moments. Did you notice how the continuous flow of the camera (Hitchcock disguised most of the necessary cuts rather deftly) climaxes in the penultimate conversation between Phillip, Rupert (James Stewart) and Brandon? The kinetic movement of the camera "becomes" Rupert's theoretical POV (and the late David Kentley's probable POV) as he muses with the dangerous (and drunk) young men about exactly how he would have murdered David. Rupert falters for a moment in his mock planning, avoiding the obvious choice of placing the body in the large chest, while the camera moves swiftly in the opposite direction that Rupert describes.

The characterization -- or how the audience occupies the spaces of the characters -- is more disturbing than the murder itself. For the whole party/film we are forced to watch the hapless victims of the deceased's father, fiancee, and friends as they are unconscious of the irony that only Phillip and Brandon are cognizant. The audience is identified neither with
Phillip/Brandon or with the family/friends alone, but strangely with both: we, ourselves, were given special access to the murder and have been with Phillip and Brandon from the beginning. It is this identification with those we would not -- socially and publicly -- wish to identify with that Hitchcock makes the most of (this isn't the first time, and it won't be the last that he would use this phenomena.) The experience of suspense builds in this time we have spent with Brandon and Phillip and in our (partial) allegiance to these characters. Imagine beginning the film ten or even five minutes after the opening credits -- the audience's experience of the party would be almost utterly identified with the family and friends of David. The party would seem (as it did to many of them) as simply bizarre. Hitchcock's placing of the murder anterior to everything gives the body a kind of "signifier"- like quality: we "know" it is there, but it effects us in it the traces of its presence (in this case, tucked safely away in the chest and the memories of the hosts/guests. The chest is a signifier for the body itself, which we never see again after it is placed inside.)

Hitchcock's camera is far more alienated in this film than in his former and latter works, and while we could say this was no doubt influenced by his technical choices, I prefer to see the camera work as a meaningful artistic structure of the film. The camera fluidly captures each macabre moment as it glides from one conversation to another, each darkly cast by the disturbing subtexts of the murder and the unknown presence of the body. For my money, Rope is suspense in one of its most pure and rare forms: the audience knows everything -- motive, the hidden body, the murder weapon -- and we are left too squirm in our seats.
July 27, 2015
I usually like talky films, no matter what the genre, but something was seriously missing here. I think since it's a Hitchcock film, my expectations were automatically high, not considering the fact that this was the first colored film that Hitchcock directed and produced. I did like the real-time touch, the simplicity of the story, the electrifying performances (notably James Stewart), and the authentic dialogue back in the day. My complaint lies in the lack of extra "oomph" that I look for in thrillers. This picture could've been better if thrilling scenes were dispersed here and there rather than taking notice of nondescript images and character interactions throughout. Still, compared to a lot of modern thrillers out there, this is pretty good. With its short running time, I'll be willing to give it another chance.
July 23, 2015
This was a suspense roller coaster. Often peaking your interest and then slowing it down. Older movies aren't normally my favorites and John Dall's cockiness went a bit far towards the end but it wasn't a bad way to spend 80 mins.
½ July 5, 2015
A "chamber thriller" as perhaps only Hitch could have done it. It's not perfect, but it's flaws are all in pursuit of an overall tonal and technical consistency. That's really about all you can ask for in a film.
½ June 30, 2015
Great film but not one i would only take on a deserted island if I had the chance
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