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Rope (1948)

Approved | | Crime, Drama, Thriller | 25 September 1948 (USA)
Two young men strangle their "inferior" classmate, hide his body in their apartment, and invite his friends and family to a dinner party as a means to challenge the "perfection" of their crime.

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(adapted by), (from the play by) | 1 more credit »
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Cast

Complete credited cast:
...
...
Edith Evanson ...
Mrs. Wilson
...
Kenneth Lawrence
Joan Chandler ...
Janet
...
Mr. Kentley (as Sir Cedric Hardwicke)
...
Dick Hogan ...
...
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Storyline

Brandon and Philip are two young men who share a New York apartment. They consider themselves intellectually superior to their friend David Kentley and as a consequence decide to murder him. Together they strangle David with a rope and placing the body in an old chest, they proceed to hold a small party. The guests include David's father, his fiancée Janet and their old schoolteacher Rupert from whom they mistakenly took their ideas. As Brandon becomes increasingly more daring, Rupert begins to suspect. Written by Col Needham <col@imdb.com>

Plot Summary | Add Synopsis

Taglines:

Nothing ever held you like Alfred Hitchcock's Rope See more »

Genres:

Crime | Drama | Thriller

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

25 September 1948 (USA)  »

Also Known As:

Alfred Hitchcock's Rope  »

Box Office

Budget:

$1,500,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

DIRECTOR_CAMEO(Alfred Hitchcock): appears, though barely if at all recognizable, walking down the street during the opening credits. His profile also appears on a neon sign visible through the apartment window approximately 55 minutes into the movie. The neon sign advertises "Reduco", the same fictional weight-loss product that Hitchcock advertised in his famous newspaper ad cameo in Lifeboat (1944). See more »

Goofs

When Rupert describes how he would "get rid" of David, the camera pans from the easy chair to the piano. When it returns to the chair about ten seconds later, the chair is facing a different direction. See more »

Quotes

Rupert Cadell: After all, murder is - or should be - an art. Not one of the 'seven lively', perhaps, but an art nevertheless. And, as such, the privilege of committing it should be reserved for those few who are really superior individuals.
Brandon Shaw: And the victims: inferior beings whose lives are unimportant anyway.
Rupert Cadell: Obviously. Now, mind you, I don't hold with the extremists who feel that there should be open season for murder all year round. No, personally, I would prefer to have..."Cut a Throat Week"... or, uh, "...
See more »

Crazy Credits

Most of the characters in the movie are listed in their relation to David, a character who is only seen for a couple of seconds, and has no lines in movie. The only person who isn't listed in reference to David is James Stewart's character. See more »

Connections

Referenced in R.S.V.P. (2002) See more »

Soundtracks

Mouvement perpetuel no. 1
(1919) (uncredited)
Written by Francis Poulenc
Played on the piano
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The birth of an "eye"
5 February 2007 | by (Porto, Portugal) – See all my reviews

I place this one in my list of films anyone should watch. That is, in order to understand some fundamental issues on film-making and films in the last 50 years.

What i'm least interested in here are the technical innovations. Those represent today a curiosity, a museum fact, worth being remembered and credited to those who worked for them, but just it.

I'm also not so interested in the underlying taboo subjects, namely those regarding the homosexuality issue. In respect to that, i even think the whole film construction, from casting to scene writing threw away many things. I'll get morecontroversial. I think Hitchcock in fact despised those messages (the writers were worried in exploring them, not Hitch), he was not after meanings or controversies, he was after something far more ingenious and influential. I'm talking about his camera eye.

Before this one, all Hitch's work was something between a classical construction and some exploration of the camera as carrier of a character's (and the audience's) emotion/feeling/sensation. The library scene in 'Shadow of a doubt', for example, is the perfect example of what i'm talking about. Anyway, that will Hitch had of making the camera follow around characters, sets, and reveal what a character (or "god") had to reveal was already notable. In here, he made that the theme of the picture. One single set, very few characters, a clear as water story (which he made even clearer by not throwing any doubt about the destiny of the murdered boy). The sexual issues also go to second importance issues. The apartment is at once simple enough to solve the technical difficulties of filming it, and large and divided enough to allow the camera to explore it, searching for elements, for dialogues or for actions. The camera has curiosity, it is almost a character, a character called audience. Years later, in different molds, Hitch would place Stewart behind the camera and definitely assume it as a physical character in the plot (Rear Window). In here what we get is fully a camera that moves to the whishes of the director. The curious, ever searching camera that dePalma would reinvent and Polanski master shows up here.

I believe the work of dePalma, in a way Polanski, Chabrol and even some Godard (Le mépris is filled with this) all derive from what happened here. Hitchcock would probably hit the top with Rear Window, but here is where he becomes an inventor.

My evaluation: 5/5 . one of the cinematic manifestos


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