Rope (1948) 1080p YIFY Movie

Rope (1948) 1080p

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.

IMDB: 8.05 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.25G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 80
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 5 / 15

The Synopsis for Rope (1948) 1080p

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.


The Director and Players for Rope (1948) 1080p

[Director]Alfred Hitchcock
[Role:]John Dall
[Role:]Farley Granger
[Role:]James Stewart


The Reviews for Rope (1948) 1080p


"Killing for the sake of killing"Reviewed bySteffi_PVote: 7/10

In 1939 Ernest Vincent Wright wrote a 50,000 word novel called Gadsby without once using the letter E, a type of work known as a lipogram. In Rope, Master of Suspense Alfred Hitchcock imposed upon himself the rule of shooting in continuous long takes, with only three deliberate cuts. By denying himself use of the editing process, Hitchcock was hereby creating his own cinematic equivalent of a lipogram.

Hitch had already done something a bit like this in Lifeboat, which also takes place in a restricted environment, but focuses strongly on characters so as not to draw attention to the smallness of the space. Rope is exactly the sort of story that would have attracted Hitchcock – straightforward domestic murder with a casually morbid tone – but perhaps he felt an adaptation of a fairly minimalist stage play required an extra gimmick. After all, he was now at the point where he considered the most exciting part of film-making the planning, and he perhaps felt this was an ideal opportunity to set himself an extreme challenge in motion picture design.

Hitchcock still goes for the effect of alternating between close-ups and mid-shots that we might see in any thriller, but thanks to his scheme he is forced to move into them by dollying and tracking. It often looks very smooth although there must have been a considerable degree of complexity, especially with the changing positions of actors as the camera moves on and off them. At other times the camera prowls around the set, homing in on this or that object, albeit in ways that Hitch might do anyway in any other picture. As always, his aim is to introduce ideas to the audience in the right way at the right time. For example whenever a situation arises in which the murderers might be found out, the camera shifts and David's makeshift coffin comes into view. Eventually we become familiar with the space and the characters and it is possible for dialogue to continue offscreen while the camera shows us something else. For example we more and more often see James Stewart's face while others talk as he begins to grow suspicious.

An added challenge for Hitchcock is that this was his first picture in colour. The colour scheme is fairly muted, until the dramatic tension builds up and he goes all out with the vibrant, flashing neon. The pattern though is fairly general and simplistic, and there is little subtlety or careful balancing of shades – probably because he was inexperienced with it, and perhaps also because he spent more time planning the movements of camera and cast.

"Simplistic" could also apply to the acting performances in Rope. There was rarely much depth to the acting anyway in Hitchcock pictures, but here I particularly feel that the performances of John Dall and Farley Granger are one-dimensional. Granger's fear is constantly out in the open, far more so on the screen than in the script, and we do not see his character trying to hide his unease or blank it out. Had he done that, the impact would have been greater when he inevitably cracks. James Stewart is also distinctly average in Rope – he is only really up to his usual standard when delivering that final speech. For the most part his mounting suspicion is conveyed through how the camera focuses on him at key moments. This is the trouble with Hitchcock – he is so confident in his abilities to convey thoughts and feelings with cinematic technique, he forgets that the actors are there to do the same thing.

As with the novel Gadsby, the self-imposed restrictions of Rope do not add anything to the picture's effectiveness. It is testament to Hitch's care in construction that it does not take anything away either. It would be equally entertaining had he shot it conventionally. Like the novelist Ernest Vincent Wright, he appears to have done it for the intellectual challenge, and to prove that it could be done. Although it is certainly interesting in this respect, like many a Hitchcock thriller it is bound to lose impact on repeated viewings. However there is certainly plenty here to enthral the first-time viewer.

At The End Of Their RopeReviewed byLechuguillaVote: 8/10

Apparently inspired by the real-life 1920s murder case of Leopold and Loeb, the story's theme must be interpreted subjectively, since the moralistic Production Code in 1948 forbid any mention of homosexuality. At the film's very beginning, the two main characters, Brandon (John Dall) and Phillip (Farley Granger), use a rope to strangle their friend David, and hide his corpse in a cedar chest in their swank NYC penthouse apartment. Brandon and Phillip are gay lovers.

To add an artistic touch to their crime, they invite several guests over for a party, with finger food placed on top of the cedar chest. That's the film's setup.

Based on a stage play, "Rope" is set almost entirely inside the penthouse. The script is heavy on dialogue, but because it is so clever, it never seems talky. As guests arrive, chat, and eat, they keep wondering where David is.

The film is mostly a character study of Brandon and Phillip, and how they react under pressure. What's fun is trying to figure out whether these two will be found out, at the end of their little rope trick, so to speak.

One problem with the script, aside from Production Code censorship, is the change that comes over Phillip. He agrees to the murder, but afterwords gets scared. Also, given Phillip's nervousness, why would Brandon still insist on having friends over?

Even so, it's an interesting film, with its claustrophobic setting, the unusual setup, and the clever dialogue. James Stewart is miscast as the mentor of Brandon and Phillip. But other actors of that era apparently did not want the role, owing to the story's homosexual theme.

The film displays some technical wizardry with the camera. But it's not obvious to viewers. One very effective scene has the guests just off-screen discussing their worry over David's puzzling absence, while the camera focuses entirely on the housekeeper as she clears off the top of the cedar chest in a perfunctory manner.

That the Production Code had such power over film content in the 1940s is truly unfortunate. The result here is that the entire film seems a little off-kilter. The relationship between Brandon and Phillip is never talked about. Yet, "Rope" is still an excellent film, mostly because of the two main characters' audacious gambit and the script's terrific dialogue.

One of Hitchcock's greatestReviewed byTBJCSKCNRRQTreviewsVote: 8/10

What an unusual Hitchcock film... such a small cast, and the whole film consists of long takes. Before seeing this, I had heard enormously positive things about it... most of them coming from my father, who hadn't seen it for about fifteen years. I had high expectations for the film, but I must say it exceeded them. Though there are only a few cuts in this film, meaning the camera is running almost non-stop, Hitchcock makes great use of it; he manages to fit in many of his trademark angles and closeups in, without it seeming forced. At one point, the camera focuses for a minute and a half on an inanimate object with only one visible character moving back and forth near it, and he manages to drench the cut in suspense, leaving even the most calm and collected of viewers at the edge of their seat, biting their nails. Only the fewest directors could make that sequence work, and luckily Hitchcock is one of them. The plot is great. It's interesting and it develops nicely. The pacing is perfect. I was never bored for a second. The acting, oh the acting... John Dall is excellent as Brandon, the intellectually superior and very smug main character. Makes me wonder why he didn't get more roles in his career. Stewart is great, as usual. The rest of the acting is very good as well. The characters are well-written and credible. For such an unusual film, and despite the heavy feeling of watching a stage play rather than a film, it's very entertaining and effective. If for nothing else, watch this to enjoy Dall as the cold, calculating and manipulative psychopath. I recommend this to fans of Hitchcock and Stewart. 8/10

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