Da 5 Bloods
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I May Destroy You
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Taut, well-acted, funny, brilliant, a masterpiece.
The vibrant technicolour film being in (almost) real time makes it that much more gripping. Hitchcock never fails to align spectators with the criminals, and here he does it best. The long takes in the experimental cinematography lives up nicely to this day, especially with the camera acting like a character in the apartment.
I think this is an underrated Hitchcock gem. The tension, which unfolds in real time as the film is just one long take, is ratcheted up when two prep-school friends murder one of their peers and hide his body in a cabinet on which they serve hors d'oeuvres. It's very play-like but there's a gorgeous urban backdrop and all the trappings of the post-war studio system are employed to tell the story.
A tense film layered in irony and sprinkled with Nietzchean philosophy.
It's a great film even if you don't notice its technical achievement. Hitchcock wasn't content to simply wow his 1947 audience with a color film, and made something experimental by editing together film to create the illusion of A continuous take. This is even more impressive when you know that the film he was working with could only physically shoot 8 minutes at a time. I read this on the booklet that came with my blu-ray... it seems nearly impossible that it could actually be the case, since there are only a few times throughout the movie when you can see the cuts.
Todo un clásico del maestro entre maestros. Una historia simple en concepto, oscura y retorcida, pero que es el punto de salida inicial para todo un viaje por el suspense y la paranoia. El trabajo de dirección de actores y el de cámara son soberbios con ese falso plano secuencia durante todo el metraje. Jimmy está tan excelente como siempre.
Quizás para mi gusto, creo que habria jugado con más elementos (como la titular soga) para hacer crecer aun más la tensión y desde un poco antes, pero supongo que eso es cuesitón de gustos.
Rope just flat-out isn't on the same level as other top Hitchcock fare. In many ways - the contstrained setting, the unrecognized crime as a plot point, and the shared perspective as a collaborator in the coverup of that crime - Rope feels like a less realized attempt to craft Dial M for Murder. The acting feels less compelling all around, and Jimmy Stewart seems miscast for the role, particularly in the earlier scenes. I rather enjoyed the dueling personalities of the two 'protagonists' who may have been drawn in by a shared ambition of the "perfect murder", but are subsequently thrown into conflict as they disagree on how best to hide the act. Much of the plot revolving around the dinner party itself feels artificial, designed to pad for time with a degree of wit that comes up short. (3.5/5)
It's maybe a little too reliant on its one-take gimmick as there are moments where there is absolutely no reason to just push the camera into someone's back, but they needed all black to cut. It still is highly satisfying with so many brilliant ways of keeping the audience in suspense. Every one-take film these days ("Birdman," "The Revenant," "1917," etc.) all owe a lot to Hitchcock's invention of it.
If not a perfect murder Rope is a perfect film.
Hitchcock's film-making prowess drives this suspense-story that includes intriguing characters and a great performance from James Stewart, all taking place in one location.
Suspenseful thriller it draws you in to see what happens as you already know as the viewer where he is. A wonderful masterpiece