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Rope is a 1948 American psychological crime thriller film directed by Alfred Hitchcock, based on the 1929 play of the same name by Patrick Hamilton. The film was adapted by Hume Cronyn with a screenplay by Arthur Laurents.

Rope
Theatrical release poster
Directed byAlfred Hitchcock
Produced byAlfred Hitchcock
Uncredited:
Sidney Bernstein
Screenplay byArthur Laurents
Story byHume Cronyn
Based onthe play Rope
by Patrick Hamilton
StarringJames Stewart
John Dall
Farley Granger
Joan Chandler
Sir Cedric Hardwicke
Constance Collier
Douglas Dick
Edith Evanson
Music by
  • David Buttolph
  • Francis Poulenc
  • (uncredited)
  • Musical direction:
  • Leo F. Forbstein
CinematographyJoseph A. Valentine
William V. Skall
Edited byWilliam H. Ziegler
Production
company
Transatlantic Pictures
Distributed byWarner Bros. Pictures (US)
Metro-Goldwyn-Mayer (Europe)
Release date
  • August 26, 1948 (1948-08-26) (New York City)
  • September 25, 1948 (1948-09-25) (United States)
Running time
80 minutes
CountryUnited States
LanguageEnglish
Budget$1,510,000 or
$2 million
Box office$2.2 million (rentals) or $2,748,000

The film was produced by Hitchcock and Sidney Bernstein as the first of their Transatlantic Pictures productions. Starring James Stewart, John Dall and Farley Granger, this is the first of Hitchcock's Technicolor films, and is notable for taking place in real time and being edited so as to appear as a single continuous shot through the use of long takes. It is the second of Hitchcock's "limited setting" films, the first being Lifeboat. The original play was said to be inspired by the real-life murder of 14-year-old Bobby Franks in 1924 by University of Chicago students Nathan Leopold and Richard Loeb.

Screenplay

Two brilliant young aesthetes, Brandon Shaw (Dall) and Phillip Morgan (Granger), strangle to death their former classmate from Harvard University, David Kentley (Dick Hogan), in their Manhattan penthouse apartment. They commit the crime as an intellectual exercise; they want to prove their superiority by committing the "perfect murder".

After hiding the body in a large antique wooden chest, Brandon and Phillip host a dinner party at the apartment, which has a panoramic view of Manhattan's skyline. The guests, who are unaware of what has happened, include the victim's father, Mr. Kentley (Cedric Hardwicke), and aunt, Mrs. Atwater (Constance Collier); his mother is not able to attend, because of a cold. Also there are his fiancée, Janet Walker (Joan Chandler), and her former lover, Kenneth Lawrence (Douglas Dick), who was once David's close friend.

 
James Stewart in the film's trailer

Brandon uses the chest containing the body as a buffet table for the food, just before their housekeeper, Mrs. Wilson (Edith Evanson), arrives to help with the party. "Now the fun begins", Brandon says when the first guests arrive.

Brandon and Phillip's idea for the murder was inspired years earlier by conversations with their prep-school housemaster, publisher Rupert Cadell (Stewart). While they were at school, Rupert had discussed with them, in an apparently approving way, the intellectual concepts of Nietzsche's Übermensch, and De Quincey's art of murder, as a means of showing one's superiority over others. He too is among the guests at the party, since Brandon in particular thinks that he would approve of their "work of art".

Brandon's subtle hints about David's absence indirectly lead to a discussion on the "art of murder". Brandon appears calm and in control, although when he first speaks to Rupert he is nervously excited and stammering. Phillip, on the other hand, is visibly upset and morose. He does not conceal it well and starts to drink too much. When David's aunt, Mrs. Atwater, who fancies herself a fortune-teller, tells him that his hands will bring him great fame, she is referring to his skill at the piano, but he appears to think this refers to the notoriety of being a strangler.

Much of the conversation, however, focuses on David and his strange absence, which worries the guests. A suspicious Rupert quizzes a fidgety Phillip about this and about some of the inconsistencies that have been raised in conversation. For example, Phillip vehemently denies ever strangling a chicken at the Shaws' farm, though Rupert has seen Phillip strangle several. Phillip later complains to Brandon about having had a "rotten evening", not because of David's murder, but because of Rupert's questioning.

As the evening goes on, David's father and fiancée begin to worry because he has neither arrived nor phoned. Brandon increases the tension by playing matchmaker between Janet and Kenneth. Mrs. Kentley calls, overwrought because she has not heard from David, and Mr. Kentley decides to leave. He takes with him some books Brandon has given him, tied together with the rope Brandon and Phillip used to strangle his son.

When Rupert goes to leave, Mrs. Wilson accidentally hands him David's monogrammed hat, further arousing his suspicion. Rupert returns to the apartment a short while after everyone else has departed, pretending that he has left his cigarette case behind. He asks for a drink and then stays to theorize about David's disappearance. He is encouraged by Brandon, who hopes Rupert will understand and even applaud them. A drunk Phillip is unable to take it any more; he throws a glass and says, "Cat and mouse, cat and mouse. But which is the cat and which is the mouse?"

Rupert lifts the lid of the chest and finds the body inside. He is horrified but also deeply ashamed, realizing that Brandon and Phillip used his own rhetoric to rationalize murder. Rupert disavows all his previous talk of superiority and inferiority, then seizes Brandon's gun and fires several shots out the window to attract attention. As police sirens approach, Rupert pulls up a chair next to the chest and the film ends.

The film is one of Hitchcock's most experimental and "one of the most interesting experiments ever attempted by a major director working with big box-office names", abandoning many standard film techniques to allow for the long unbroken scenes. Each shot ran continuously for up to ten minutes without interruption. It was shot on a single set, aside from the opening establishing shot street scene under the credits. Camera moves were carefully planned and there was almost no editing.

The walls of the set were on rollers and could silently be moved out of the way to make way for the camera and then replaced when they were to come back into shot. Prop men constantly had to move the furniture and other props out of the way of the large Technicolor camera, and then ensure they were replaced in the correct location. A team of soundmen and camera operators kept the camera and microphones in constant motion, as the actors kept to a carefully choreographed set of cues.

The extraordinary cyclorama in the background was the largest backing ever used on a sound stage. It included models of the Empire State and the Chrysler buildings. Numerous chimneys smoke, lights come on in buildings, neon signs light up, and t

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