The Rope (1948)

fig 1.

In a way , this film is more of a sample in the way it is made, even though experimental wouldn't be an applicable term since the techniques are proven through practise, and the movie warrants a professional approach due to its nature. The rope is reflective of a scheming mind, particularly in the ways of building suspense. 'Hitchcock always wanted to make his audience suffer, and with Rope, guilt, the guilt that Brandon should be feeling, is what makes us miserable. The murderers need an audience to applaud their crimes, and with their dinner guests in the dark, our privileged knowledge of what's in the trunk makes us uneasily complicit in what they've done.' (Hutchinson 2012) When an audience knows something the characters don't, it can create this feeling of tension between moments in time. The Rope has a secret body in a casket for the duration of the dinner party, causing some heightened awareness at times. Even writing in foresight can be a challenge without reviewing the film to its mechanics, since the placing is so deliberate, demanding attention. It's a top tier technique for horrors, thrillers, and mystery movies, which brings formation to a film. Alfred Hitchcock, the director, is known for his straightforward sequences, and unexpected twists that so often surprise even modern audiences. Though the hardware may have aged, and the context slightly outdated at this point, his ways have persevered into today's practise.

fig 2.

Foreshadowing is an instrumental thing that can introduce fear or suspicion into a scene. this means both within the plot and towards the audience. When Philip gets his fortune, he is told 'These hands will bring you great fame'. At the same time, characters clothing tells us more about their place in the story. Philip wears red that tells us he is dangerous to the plot, and at the end he is, when he 'mixes his drinks' and lets his emotions get the better of him. Though this kind of foreshadowing can fall in the category of building suspense, it is also important because it helps set the scene by linking together plot and characters.  The Rope brings together design and technique together for the sake of screenwriting.

fig 3.

In the shooting of this film it is a noticeable thing that the camera never leaves the house, apart from the establishing shot at the beginning of the film. It is known as a continuous camera and it is present for a number of reasons relating to cinematography.  But it is also the feature that makes the film feel experimental, as the actors playing said characters never look at the camera. So what is it good for? 'the 'vanishing point' that inscribes an empty emplacement for the spectator-subject, an all powerful position which is that of God himself, or more broadly of some ultimate signified.'(Metz 49-50 1984) Mainly it is there to presumably help the audience feel more involved, to help them care about the characters on screen. It can be a time saver, and can make full usage of a set, though labour is increased for this end when everyone constantly moves out of shot.  It is very much like a pantomime, except the lights never go out, and the camera simply cuts when absolutely necessary. For this The Rope is reflective of its time and unusual constraints imposed by the director, but limitation brings fruition, and so stylistically prevails in an overall opinion.

fig 4.

In closing the rope would be considered an interesting use of techniques, though experimental feeling in its conduction it leaves an audience with a sense of giddiness as they are lowered into a pool of drama, and then left with this awesome feeling. Modern films seem to have a tendency to dress up films with explosions and heavy CGI to replicate this, but it is more fleeting, less interesting if you happen to be more of a listener as well as more of a film buff. 'The play appealed to Hitchcock’s sense of the macabre and his fascination with situations involving the inconvenience of dead bodies. But in translating the play to the screen, he had to deal with that unity of time and space.' (Ebert, 1984) But in the end it all boils down to one thing; a climax, similar to a bow on a parcel, or flowers on a casket. Its barebones to the point of excitement, a simple and easy plot akin to a piece of string. Movies don't need to be massively complex, but rather just within grasp at any present time until it meets a twist.

Bibliography 

Ebert, Roger. "Rope Movie Review & Film Summary (1948) | Roger Ebert". Rogerebert.com. N.p., 1984. Web. 24 Jan. 2017.

Hutchinson, Pamela. "My Favourite Hitchcock: Rope". the Guardian. N.p., 2012. Web. 24 Jan. 2017.

Metz, Christian. Psychoanalysis And Cinema. 1st ed. London: The Macmillan Press LTD, 1984. Print.

Figures

fig 1. Hitchcock, A. (1948). The Rope. [poster]

fig 2. Hitchcock, A. (1948). The Rope. [film still]

fig 3. Hitchcock, A. (1948). The Rope. [film still]

fig 4. Alfred Hitchcock talking with actors (1948). The Rope. [photograph]