Rope (1948)

Filme im Quadrat

May 31

Alfred Hitchcock's 1948 film, Rope, is a groundbreaking psychological thriller that pushes the boundaries of storytelling and technical innovation. Based on a 1929 play by Patrick Hamilton and inspired by the real-life murder case of Leopold and Loeb, Rope tells the story of two young men, Brandon (John Dall) and Philip (Farley Granger), who murder their classmate David in an attempt to commit the "perfect crime." They hide his body in a chest and proceed to host a dinner party for his family and friends, all while being observed by their former teacher, Rupert Cadell (James Stewart), who is convinced they are involved in the crime.

Rope stands out because of its story of moral transgression and psychological tension, but also because of its groundbreaking use of long takes and its real-time approach to filmmaking. Hitchcock shot the film in a single, continuous take, which adds to the tension and claustrophobia of the plot. Rope boldly explores themes of intellectual superiority, guilt, and moral philosophy, particularly as they relate to the notion of power and the justification of murder.

The film opens with Brandon and Philip strangling their classmate David with a piece of rope in their Manhattan apartment. The two have committed the murder as an intellectual exercise, convinced that they are superior to others and have the right to kill without consequence. They hide David's body in a chest in their living room. In a twisted display of arrogance, they plan a dinner party with David's friends, family, and even his fiancée, all while the body lies hidden just feet away.

Among the guests is Rupert Cadell, their former teacher. He had once espoused the philosophy that murder could be justified if committed by a superior being. Brandon remains calm and collected throughout the evening, relishing the thrill of their crime and the risk of being caught. Philip, on the other hand, becomes visibly anxious and increasingly guilty, arousing suspicion. As the evening progresses, Rupert notices subtle clues that make him realize something sinister has occurred.

The film reaches its climax in a tense final confrontation between Rupert and the two young men. Rupert, shocked to discover that his earlier musings may have inspired the crime, confronts them about the murder, ultimately calling the police as the camera pans out from the apartment, leaving the audience to consider the consequences of their actions.

The Superiority Complex and the Philosophy of Nietzsche: One of the central themes of Rope is the belief in intellectual and moral superiority, as espoused by Brandon. He views himself as a Nietzschean "superman," someone above conventional morality and the laws that govern ordinary people. The film's central crime is driven by the belief that superior individuals have the right to commit murder. Brandon's arrogance in justifying the murder is both chilling and central to the film's exploration of power dynamics and moral relativism.

Guilt and Conscience Brandon remains cold and detached, revelling in the thrill of committing the "perfect crime." In stark contrast, Philip is consumed by guilt. His trembling hands, nervous behavior, and growing unease undeniably reflect the psychological burden of the murder. The film boldly examines how guilt manifests itself in different ways, with Philip's unraveling serving as a striking counterpoint to Brandon's composed and seemingly remorseless demeanor. Hitchcock's camera captures Philip's emotional torment as the tension builds, leading to his inevitable breakdown.

Morality and Responsibility: The character of Rupert Cadell, played by James Stewart, is absolutely essential to the film's exploration of moral responsibility. Rupert, who once espoused a philosophy that suggested murder could be justified by a superior mind, unwittingly becomes the inspiration for Brandon's actions. His character arc involves a confrontation with his own ideas. He grapples with the fact that his former students took his intellectual musings too literally. Rupert's shock and horror when he realizes the consequences of his teachings make it clear: there is a great responsibility that comes with influence, and abstract philosophical ideas can be dangerous when applied to real life.

Psychological Manipulation and Power: The film's tension is derived from two sources: the murder itself and the psychological manipulation that takes place during the dinner party. Brandon toys with the guests, particularly David's family and fiancée, knowing full well what they do not: that David's body is lying in the chest in the middle of the room. Brandon's sadistic manipulation is a clear display of his desire for control and power, not just over Philip but also over those around him. The dinner party setting is a clear metaphor for the superficiality of human interactions and the power dynamics at play in relationships. It is a setting where social pleasantries mask the underlying horror.

Brandon (John Dall) is the mastermind behind the murder and the embodiment of the Nietzschean "superman" philosophy. He is convinced that he and Philip are superior beings, free to commit murder without guilt or consequence. His arrogance and detachment from human emotions make him a chilling character. He displays no remorse for the murder. Instead, he is thrilled by the idea of getting away with it. He relishes the psychological game he plays with his guests. Brandon's character exemplifies the perils of intellectual elitism and the notion that some individuals are above the law.

Philip (Farley Granger) is the more emotionally fragile of the two murderers, and his guilt over the crime becomes increasingly apparent as the evening progresses. Philip, unlike Brandon, is unable to hide his remorse, and his nervous, jittery behavior immediately raises suspicions. Philip's inner conflict represents the human conscience, which cannot be silenced even when one has committed a crime in the name of intellectual superiority. His eventual breakdown starkly contrasts with Brandon's cold rationality. It serves as a stark reminder that guilt is an inherent part of the human condition.

Rupert Cadell (James Stewart), the former teacher who unwittingly inspired the murder, is the moral center and the catalyst for the film's resolution. While he initially enjoys engaging in intellectual banter, Rupert quickly becomes suspicious of Brandon and Philip's behavior. When he finally realizes what they have done, Rupert is horrified, not just by the crime, but by the realization that his own ideas may have contributed to it. James Stewart's portrayal of Rupert adds unquestionable depth to the character, who must face the consequences of his own intellectual arrogance. Rupert's condemnation of Brandon's actions is a powerful moment of moral reckoning. It is a stark realization of the dangers of abstract ideas when taken to their extreme.

The Long Take: Hitchcock is famous for using long takes in Rope, which makes the film seem to unfold in real time. The film is composed of a series of long, continuous shots with hidden cuts designed to be seamless. This technique creates a powerful sense of immediacy and intimacy, drawing the audience into the claustrophobic setting of the apartment. The long takes also intensify the tension, as there are no breaks in the action, and the audience is compelled to remain with the characters as the suspense reaches its peak.

Real-time storytelling and tension: The real-time storytelling approach in Rope is essential for building suspense. The film takes place over the course of a single evening, and the audience is aware that David's body is hidden in the chest throughout the entire dinner party. This knowledge creates a sense of dread as we watch the characters interact, knowing full well that the crime could be discovered at any moment. Hitchcock uses this technique to increase the psychological tension, particularly as Rupert begins to grow suspicious of Brandon and Philip.

The limited setting and claustrophobic atmosphere are key to the film's success. The entire film is set in the confined space of Brandon and Philip's apartment, which intensifies the claustrophobic atmosphere and heightens the tension. Hitchcock uses the limited setting to focus on the psychological dynamics between the characters, particularly the power struggle between Brandon and Rupert. The apartment becomes a pressure cooker, with the tension building as the evening progresses. Hitchcock expertly uses space to heighten suspense. As the characters move around the room, their proximity to the chest intensifies the mounting tension.

The chest is a powerful symbol in the film. The chest where Brandon and Philip hide David's body is the film's most powerful symbol. The chest becomes the centerpiece of the dinner party, a literal and figurative container for the crime. The guests unknowingly place food and drinks on top of it, without a care in the world about the horror beneath. The chest represents the hidden nature of guilt and the idea that dark secrets can be concealed beneath a veneer of civility and sophistication—and it does so powerfully.

Rope is unquestionably one of Hitchcock's most technically innovative films. It blazed a trail for future filmmakers to experiment with long takes and real-time storytelling. While the film was not as commercially successful as some of Hitchcock's other works, it is now widely regarded as a daring and innovative masterpiece, exploring profound moral and philosophical themes with a bold narrative approach.

The film's exploration of intellectual elitism, guilt, and moral responsibility has undeniably resonated with audiences and critics alike. Its influence is evident in later films that address similar themes of murder as an intellectual exercise, such as Compulsion (1959), which also draws from the Leopold and Loeb case.

There is no doubt that Alfred Hitchcock's 1948 film, Rope, is a tense and intellectually stimulating film that showcases his mastery of psychological suspense and innovative filmmaking techniques. Rope offers a chilling examination of the human psyche through its exploration of moral superiority, guilt, and the consequences of abstract philosophy. The film's real-time structure, long takes, and claustrophobic setting are masterfully crafted to heighten the tension, making it a compelling study in both form and content. Rope may not be as widely recognized as some of Hitchcock's other classics, but it is a unique and powerful entry in his body of work. Its moral complexity and technical brilliance continue to fascinate audiences.