Rope (1948)

Rope (1948) 

Cast List

James Stewart  ...      Rupert Cadell, Publisher 

John Dall  ...             Brandon Shaw, Murderer 

Farley Granger  ...     Phillip Morgan, Murderer 

Cedric Hardwicke  ... Mr. Kentley 

Constance Collier  ... Mrs. Atwater, Kentley's Sister-In-Law 

Douglas Dick  ...       Kenneth Lawrence 

Edith Evanson  ...      Mrs. Wilson, the Housekeeper  

Dick Hogan  ...          David Kentley, Murder Victim 

Joan Chandler  ...      Janet Walker, David's Fiancee 

Things to notice:

Rope is Hitchcock’s first film in America where he acted as producer and director. Before this, he worked for producer David O. Selznik. See previous post for details about Selznik. Being his own producer, Hitchcock was able to cast who he wanted, film what he wanted and basically, call all the shots himself. He was in complete control of the film. So many of the following choices came from Hitchcock's own artistic vision:

Rope is Hitchcock’s first color film.

Rope was originally a play by Patrick Hamilton.  The movie has only one set. The camera was moved from room to room. Walls were whisked up into the studio “flies”.  Grips (technicians who move or work with set pieces) stood off-camera removing and replacing furniture when the camera moves forward and backward. 

 

Most shots in movies last only five to fifteen seconds - the shots in Rope last on average 10 minutes (the length of time a “magazine” of film can be exposed in a camera.)

These 10 minute takes each end as the camera is moved closely to an object or a character’s jacket.  The next reel is then filmed focusing on this object and pulling back. As you watch the film, try to notice each “take”. 

If any mistakes occurred during the ten-minute take, the complete shot had to be done again.

The music Hitchcock selected is Poulenc’s “Mouvement Perpetuel” (perpetual movement).  In the film the camera is constantly moving (moving perpetually, for instance). 

The film is an exercise in suspense. The murder happens within a few seconds of the opening shot.  The tense situation or suspense occurs as the murderers place the body in a chest, invite his parents and fiance over for dinner and serve the meal on the chest itself.

Themes found in the movie include: cannibalism, ritual, sexuality, and the difference between theory and practice (book learning versus real experience).

The rope used to kill Dick Hogan is used to tie up his books, presented to his father like a gift.

The play is based on the Leopold and Loeb case. You can learn more about the Leopold and Loeb case here.

As you watch, list the moments in the movie when the shot changes:

1.  Example:  The camera moves from an exterior shot of the street and window to an interior shot of the apartment as Dick Hogan is shown being strangled by Brandon and Phillip.

2. ? Try to locate the various shots. You should find about 7 of these. 

HOMEWORK: Please read the first part of Rear Window.

Film Projects; Meeting with Producers; Alfred Hitchcock

Please use period 1 today to continue your film projects. I need to meet with your producers. During period 2 we will return next door to watch the first part of Rope (1948).

Alfred Hitchcock is considered the "master of suspense" and his career in film was a long and influential one:

His first full length film was The Lodger and appeared in 1926. This was followed by Downhill (1927), The Ring (1927), Champagne (1928), The Farmer's Wife (1928), and Easy Virtue (1928), The Manxman (1929), and Blackmail (1929). These were British silent films (Blackmail was not, as you can hear). You are free to watch any of these films as extra credit.

In the1930's, Hitchcock made even more films, mostly suspense films for which he became famous. These included: Rich and Strange (1931), The Skin Game (1931), Number 17 (1932), The Man Who Knew Too Much (1934) with Peter Lorre, The 39 Steps (1935), Sabotage (1936), Secret Agent (1936), Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939), then Foreign Correspondent (1940).

At this point in his career, Alfred Hitchcock moves to Hollywood to work with producer David O. Selznick. He makes a variety of films for Selznick, although the two approached film from a very different perspective. Hitchcock often felt trapped or restricted by Selznick's contract. The films include: Rebecca (1940) Laurence Olivier (here's the full film), Shadow of a Doubt (1943) Joseph Cotten, Life Boat (1944) Talula Bankhead, Spellbound (1945) with Gregory Peck, Notorious Cary Grant & Ingrid Bergman (1946), The Paradine Case (1947), Rope (1948) with Farley Granger & Jimmy Stewart, and Under Capricorn (1949) Ingrid Bergman.

HOMEWORK: Please read the HUAC & The Communist Witch Hunt & The Emergence of Television chapters. Information from this material will be covered on the final test. Take notes on key points.

Continue making your student films.

Citizen Kane: Day 3 (Conclusion); Film Project

WRITING ACTIVITY: As you watch the film, please take notes to answer one of these analysis questions:

1. Examine the aesthetics of Citizen Kane. How is, for example, mise-en-scene and the mise-en-shot used, how is the camera used, dialogue, etc. to create a formalistic or realistic film? Can a film be both realistic and formalistic? How does editing and montage work in the film to symbolize or bring focus to important elements in the film? Remember to examine motifs and recurring objects and what their significance is for the film. For more help on mise-en-scene and film terms, check here!

2. Examine the film's narration and narrative structure. Examine Welles' artistic choice to tell the story this way. How does the film benefit (or suffer) from this choice? Also, examine how Kane's "fictional" story reveals the psychological state of the film's auteur. How is this also a film about Welles? Who's story is this? Explain.

Note: The handout given to you on Citizen Kane will be helpful to you as will the script. Please read and refer to these articles.

Here is some information about who is responsible for this film. You may find it useful for your paper and for the upcoming exam.

Director: Orson Welles
Writers: Herman J. Mankiewicz and Orson Welles (screenplay)
Cinematography by Gregg Toland

Orson Welles ... Charles Foster Kane
Joseph Cotten ... Jedediah Leland
Dorothy Comingore ... Susan Alexander Kane
Agnes Moorehead ... Mary Kane
Ruth Warrick ... Emily Monroe Norton Kane
Ray Collins ... James W. Gettys
Erskine Sanford ... Herbert Carter
Everett Sloane ... Mr. Bernstein
William Alland ... Jerry Thompson
Paul Stewart ... Raymond
George Coulouris ... Walter Parks Thatcher
Fortunio Bonanova ... Signor Matiste
Gus Schilling ... The Headwaiter
Philip Van Zandt ... Mr. Rawlston
Georgia Backus ... Bertha Anderson
Harry Shannon ... Kane's Father

Produced by Orson Welles and George Schaefer .... executive producer
Original Music by Bernard Herrmann
Film Editing by Robert Wise
Casting by Rufus Le Maire & Robert Palmer
Art Direction by Van Nest Polglase
Set Decoration by Darrell Silvera
Costume Design by Edward Stevenson
Makeup by Maurice Seiderman

You may wish to check the TRIVIA section on IMDB.com for Citizen Kane. There are quite a few interesting tidbits of trivia for trivia fans.

After watching Part II of the film, please use the lab today to further your film projects. This project will be moved to being extra credit to REPLACE a missing grade in the gradebook to help boost your marking period grade. It may be used to replace The Maltese Falcon review if you did not turn that work in. If you do both you gain extra credit.

HOMEWORK: Have a nice break! Keep working on your film projects!

Citizen Kane: Day 2; Film Project

WRITING ACTIVITY: Please take notes to answer one of these analysis questions:

1. Examine the aesthetics of Citizen Kane. How is, for example, mise-en-scene and the mise-en-shot used, how is the camera used, dialogue, etc. to create a formalistic or realistic film? Can a film be both realistic and formalistic? How does editing and montage work in the film to symbolize or bring focus to important elements in the film? Remember to examine motifs and recurring objects and what their significance is for the film. For more help on mise-en-scene and film terms, check here!

2. Examine the film's narration and narrative structure. Examine Welles' artistic choice to tell the story this way. How does the film benefit (or suffer) from this choice? Also, examine how Kane's "fictional" story reveals the psychological state of the film's auteur. How is this also a film about Welles? Who's story is this? Explain.

Note: The handout given to you on Citizen Kane will be helpful to you as will the script. Please read and refer to these articles.

Here is some information about who is responsible for this film. You may find it useful for your paper and for the upcoming exam.

Director: Orson Welles
Writers: Herman J. Mankiewicz and Orson Welles (screenplay)
Cinematography by Gregg Toland

Orson Welles ... Charles Foster Kane
Joseph Cotten ... Jedediah Leland
Dorothy Comingore ... Susan Alexander Kane
Agnes Moorehead ... Mary Kane
Ruth Warrick ... Emily Monroe Norton Kane
Ray Collins ... James W. Gettys
Erskine Sanford ... Herbert Carter
Everett Sloane ... Mr. Bernstein
William Alland ... Jerry Thompson
Paul Stewart ... Raymond
George Coulouris ... Walter Parks Thatcher
Fortunio Bonanova ... Signor Matiste
Gus Schilling ... The Headwaiter
Philip Van Zandt ... Mr. Rawlston
Georgia Backus ... Bertha Anderson
Harry Shannon ... Kane's Father

Produced by Orson Welles and George Schaefer .... executive producer
Original Music by Bernard Herrmann
Film Editing by Robert Wise
Casting by Rufus Le Maire & Robert Palmer
Art Direction by Van Nest Polglase
Set Decoration by Darrell Silvera
Costume Design by Edward Stevenson
Makeup by Maurice Seiderman

You may wish to check the TRIVIA section on IMDB.com for Citizen Kane. There are quite a few interesting tidbits of trivia for trivia fans.

After watching Part II of the film, please use the lab today to further your film projects.

HOMEWORK: Keep working on your film projects!

Film Projects; Orson Welles

Please turn in your Maltese Falcon Review. It will be considered late after 8:15.

This morning, please complete the following tasks:

1. View the video hints for film projects:

• Director: How to Direct
• Director/Producer: How to Schedule a Film
• Director/Producer: How to Plan a Movie (pre-production)
• Director/Cinematographer: How to Shoot a Short Film
• Cinematographer: Shooting Tips
• Cinematographer: Tips for Cinematography
• Cinematographer: Tips for Angles & Locations
• Editors & Cinematographer: Continuity Editing
• Writers: Story Telling Tips
• Actors: Acting in Film with Michael Caine

2. Work on your film project. The script needs to be done first. Tackle that today in the lab. If you are the director/producer, talk to one another about where the project is: what needs to be completed next? Make a list, organize yourself and your cast/crew. Decide on dates to shoot your film. If you are the editor, start uploading and working on your credits--you don't need your film script done for some of this. Once you have the details, put it up in the film. You can also select music, sound effects, or stock footage. Actors ready to complete a scene? Shoot what you can right now! Get on with it!

Every class period: Gather with your group and touch base with each other about the project.

• Producers: get with your director and discuss time and schedule for the film project. The film project is due at the end of the month. Set up a schedule that works within this boundary. Realize that editing takes time. Producers! It is your job to see that the project is completed by the deadline.
• Directors: work with your actors, editor, technicians, cinematographer, etc. Find out people's schedules. When can you shoot the scenes you need to? Make a schedule and hand this to your crew. You may use class time to plan, shoot, edit, or trouble-shoot with your crew.
• Actors: get a copy of the script you are working on and read it. Prepare your scenes by reading and reading and reading the script. Memorize, if possible. Work with your director on scheduling scenes you are in, run lines with other actors, ask questions of the director for anything unclear in the script or with your character. Help out the crew or the director where needed.
• Writers: You are the first step in the process, but you may not need to be completed before you hand your script to your director or producer. If you haven't completed your short script (remember a short script is like a short story--start close to the climax of the "film"!) After writing, be available to the director to change anything needing changing in the script. Yes, you may want your site locations to blow-up at the end of the film, but is this possible? (the answer is no, by the way.) As the writer, help out your editor and director by preparing a cast and crew list. You may also easily double as an actor, cinematographer, producer, director, crew, or editor. Complete jobs where needed.
• Cinematographer: Your job is to plan HOW the script is shot. Will you use a long shot or close up? Will you use high-key lighting or low-key? Will you shoot a scene with an oblique angle or a high angle or low angle? Go through the script and make some decisions. Create storyboards to help you visualize a scene. Take into account the writer's wishes, but feel free to change anything that will make your film project more visually interesting.
• Editor: Start working on the credits. You will need both opening and closing credits. You can do this even if you haven't started shooting your film yet. Use iMovie to create opening and closing credits. You can also help out by finding sound cues or stock footage. Prepare all sound cues as needed. If an actor has a VO (voice over) sequence, use class time to record the voice over (even if you haven't finished shooting the scene it is attached to). Once you have film shot, you may begin editing. I suggest the editor is NOT the director, although this may be unavoidable.
• Crew: Help out. If something needs to be completed, help your team get the film done on time. Like actors, be available to fill in and help where needed at any time. If the editor needs help, help. If the writer needs help, help. If the director needs help, help. You get the idea.

2nd period (at 9:00):

In order to complete our curriculum, please go next door and begin watching Citizen Kane. I'd like to complete this film (with time in the lab for you to work on projects) next week.

As we view Citizen Kane, there are a series of important elements that can enrich our understanding of this film.

Orson Welles as Auteur:
Welles directed, wrote (partial), and starred in this film (even though it was thought he wasn't old enough to portray Kane). While Welles had direct control over the film and its look, there were other people who contributed artistically. Some of the invention and creativity of film making includes:

Camera Work:
The Deep Focus shot!
Low angle shots revealing ceilings!
Moving shots used as wipes!
Overlapping dialogue! (not original to Welles, but a trend in Screwball Comedies)
Long uninterrupted shots!
Expressionist lighting and photography!

Narrative/Special techniques:
Multiple perspective!
Flashbacks!
Aging!

Motifs and themes:
The American Dream: For all of Kane's "success", he is not happy. He dies lonely, with only his "possessions" around him. Is all our striving to succeed in America an illusion?

Perspective:
The differing perspectives on Kane's life, especially in the absence of Kane's own point of view, force us to question what was truly important in Kane's life (and by extension what constitutes a life in general.) Judging by Kane's last muttered word: Rosebud, the most important pieces of his life were not the things that made him newsworthy, such as his newspaper successes and political ambitions, nor his friendships and associations. As Thompson interviews different people about Kane, we are given different perspectives on the man (some are unreliable). Odd, though, that we do not see Kane from Kane's POV.

Motifs:
Isolation
Materialism/Capitalism
Old Age

Symbols:
The Snowglobe
Sleds
Statues

WRITING ACTIVITY: Please take notes to answer one of these analysis questions:

1. Examine the aesthetics of Citizen Kane. How is, for example, mise-en-scene and the mise-en-shot used, how is the camera used, dialogue, etc. to create a formalistic or realistic film? Can a film be both realistic and formalistic? How does editing and montage work in the film to symbolize or bring focus to important elements in the film? Remember to examine motifs and recurring objects and what their significance is for the film. For more help on mise-en-scene and film terms, check here!

2. Examine the film's narration and narrative structure. Examine Welles' artistic choice to tell the story this way. How does the film benefit (or suffer) from this choice? Also, examine how Kane's "fictional" story reveals the psychological state of the film's auteur. How is this also a film about Welles? Who's story is this? Explain.

Note: The handout given to you on Citizen Kane will be helpful to you as will the script. Please read and refer to these articles.

Here is some information about who is responsible for this film. You may find it useful for your paper and for the upcoming exam.

Director: Orson Welles
Writers: Herman J. Mankiewicz and Orson Welles (screenplay)
Cinematography by Gregg Toland

Orson Welles ... Charles Foster Kane
Joseph Cotten ... Jedediah Leland
Dorothy Comingore ... Susan Alexander Kane
Agnes Moorehead ... Mary Kane
Ruth Warrick ... Emily Monroe Norton Kane
Ray Collins ... James W. Gettys
Erskine Sanford ... Herbert Carter
Everett Sloane ... Mr. Bernstein
William Alland ... Jerry Thompson
Paul Stewart ... Raymond
George Coulouris ... Walter Parks Thatcher
Fortunio Bonanova ... Signor Matiste
Gus Schilling ... The Headwaiter
Philip Van Zandt ... Mr. Rawlston
Georgia Backus ... Bertha Anderson
Harry Shannon ... Kane's Father

Produced by Orson Welles and George Schaefer .... executive producer
Original Music by Bernard Herrmann
Film Editing by Robert Wise
Casting by Rufus Le Maire & Robert Palmer
Art Direction by Van Nest Polglase
Set Decoration by Darrell Silvera
Costume Design by Edward Stevenson
Makeup by Maurice Seiderman

You may wish to check the TRIVIA section on IMDB.com for Citizen Kane. There are quite a few interesting tidbits of trivia for trivia fans.

HOMEWORK: Please read the chapter on "Orson Welles & Citizen Kane". Review any materials you missed due to off-task behavior or lack of time, and then work on your film projects this weekend.

Maltese Falcon Review; Film Project

This morning, please complete your film review (this is due Friday, so if you don't complete it today in the lab, make sure you're ready to turn it in Friday!)

Film reviews should be on The Maltese Falcon. See previous posts for the script and details about actors, etc. Research the film online before writing about it.

Give your review a title.

Titles of films are italicized.

When writing about a film, do your research first. Find out the year it was produced, who wrote the script, directed the film, and other important details from IMDB.COM. Use this information to help make your writing/review specific and detailed. Don't be lazy and skip this step!

In your review, consider the major sections of the film. This is film noir, so covering this topic would be a key aspect of your review. You may also consider how the film is WRITTEN or DIRECTED or SHOT or ACTED. Apply what have you learned about film and use film vocabulary to review the film specifically.

Start off your review with an attention-grabbing hook. Like a teaser or trailer of a film...

Some films influenced films that came after them. Other films were influenced by film. Add details from your RESEARCH.

Write about novels and films in the present tense. This is called the "literary present"--assume that the film IS still alive, not in the past. See this explanation for more help.

Correct grammar and punctuation in your review. Stop being sloppy when writing. Learn the rules of Standard Written English and use them until you die. Help with grammar/punctuation can be found online and here.

Write your essays and reviews for this class using MLA format. It is the expectation. Look here for help in formatting an MLA formatted review. Also refer to my previous handouts.

End your essay with a good, creative concluding statement.

Final drafts are due Friday by the BEGINNING of class.

You are likely to have time to work on your film projects. The first step in this project is to write that script.

If you know who's working on your film, start your credits--or pull stock footage, pictures, etc. or upload film if you have it.

DON'T WASTE YOUR TIME IN THE LAB, PLEASE!

HOMEWORK: As stated above.

Maltese Falcon: Day 2 & Film Review

As you watch the film, be prepared to review the film and comment on the effectiveness and/or style of film noir. You will write a review of the film after we screen it. Other details about the film can be found on IMDB.com. You can read the script here at this link.

The Maltese Falcon, directed and written for the screen by John Huston
Based on the novel by Dashiell Hammett

• Humphrey Bogart as Sam Spade
• Mary Astor as Brigid O'Shaughnessy
• Gladys George as Iva Archer
• Peter Lorre as Joel Cairo
• Barton MacLane as Lt. of Detectives Dundy
• Lee Patrick as Effie Perrine
• Sydney Greenstreet as Kasper Gutman
• Ward Bond as Detective Tom Polhaus
• Jerome Cowan as Miles Archer
• Elisha Cook, Jr. as Wilmer Cook

HOMEWORK: None. Be prepared to write your review next class. If you will be absent due to an AP exam, please complete your 1-2 page review of the film. Both reviews are due by Friday. 

If you are working on writing your film idea, please continue working on that as well.

Film Pitch; Form Film Company; Film Noir

Let's continue the film pitches from last class. Please present, vote, and then form film companies based on what projects you would like to work on for your student film.

Please hand in your homework (see post below this one) and your film company information for credit.

Film Noir: please watch the short film clip: The Elements of Film Noir (documentary)

Here are a few things to watch for as we screen The Maltese Falcon:

1. A protagonist that is cynical or detached
2. A femme fatale who leads the protagonist astray
3. A mystery, crime, or use of suspense
4. A naive scapegoat to take the rap of some "crime"
5. Goons (hired criminals who give the protagonist a hard time)
6. Razor sharp dialogue
7. Reference and description of low key lighting

The Maltese Falcon, directed and written for the screen by John Huston
Based on the novel by Dashiell Hammett

• Humphrey Bogart as Sam Spade
• Mary Astor as Brigid O'Shaughnessy
• Gladys George as Iva Archer
• Peter Lorre as Joel Cairo
• Barton MacLane as Lt. of Detectives Dundy
• Lee Patrick as Effie Perrine
• Sydney Greenstreet as Kasper Gutman
• Ward Bond as Detective Tom Polhaus
• Jerome Cowan as Miles Archer
• Elisha Cook, Jr. as Wilmer Cook

As you watch the film, be prepared to review the film and comment on the effectiveness and/or style of film noir. You will write a review of the film after we screen it. Other details about the film can be found on IMDB.com. You can read the script here at this link.

HOMEWORK: Please view the information about the film before MONDAY. Take notes and research the film, its director, its historical significance, etc. We will complete the film during Monday's class.

Color in Film (Day 2); Walt Disney; Film Pitch

This morning, please complete the following tasks:

1. If you did not complete your film pitch, please do so now. I am collecting your film pitch today and we will need these completed and ready to discuss during 2nd period.
2. Please read the blog post below and take notes (and view the links) concerning Technicolor.
3. Read the article on "Snow White" and view the Disney films found in the blog post below.

2nd period:

Please present your film pitches to the rest of the class.

If you are "pitching" please read your idea to the rest of us. If you are "producing" vote for your favorite film ideas on the ballots. You will have the opportunity to help write, direct, act, edit, or photograph this film idea as you form a film "company".

Gather with your new group and assign jobs to each member:

• Producers: get with your director and discuss time and schedule for the film project. The film project is due at the end of the month. Set up a schedule that works within this boundary. Realize that editing takes time. Producers! It is your job to see that the project is completed by the deadline.
• Directors: work with your actors, editor, technicians, cinematographer, etc. Find out people's schedules. When can you shoot the scenes you need to? Make a schedule and hand this to your crew. You may use class time to plan, shoot, edit, or trouble-shoot with your crew.
• Actors: get a copy of the script you are working on and read it. Prepare your scenes by reading and reading and reading the script. Memorize, if possible. Work with your director on scheduling scenes you are in, run lines with other actors, ask questions of the director for anything unclear in the script or with your character. Help out the crew or the director where needed.
• Writers: You are the first step in the process, but you may not need to be completed before you hand your script to your director or producer. If you haven't completed your short script (remember a short script is like a short story--start close to the climax of the "film"!) After writing, be available to the director to change anything needing changing in the script. Yes, you may want your site locations to blow-up at the end of the film, but is this possible? (the answer is no, by the way.) As the writer, help out your editor and director by preparing a cast and crew list. You may also easily double as an actor, cinematographer, producer, director, crew, or editor. Complete jobs where needed.
• Cinematographer: Your job is to plan HOW the script is shot. Will you use a long shot or close up? Will you use high-key lighting or low-key? Will you shoot a scene with an oblique angle or a high angle or low angle? Go through the script and make some decisions. Create storyboards to help you visualize a scene. Take into account the writer's wishes, but feel free to change anything that will make your film project more visually interesting.
• Editor: Start working on the credits. You will need both opening and closing credits. You can do this even if you haven't started shooting your film yet. Use iMovie to create opening and closing credits. You can also help out by finding sound cues or stock footage. Prepare all sound cues as needed. If an actor has a VO (voice over) sequence, use class time to record the voice over (even if you haven't finished shooting the scene it is attached to). Once you have film shot, you may begin editing. I suggest the editor is NOT the director, although this may be unavoidable.
• Crew: Help out. If something needs to be completed, help your team get the film done on time. Like actors, be available to fill in and help where needed at any time. If the editor needs help, help. If the writer needs help, help. If the director needs help, help. You get the idea.

Complete the credit sheet with names of your group members and their jobs. Hand this in by the end of class today.

HOMEWORK: Please read the chapter on "Snow White" and "Film Noir". On the handout/graphic organizer please identify what is important that you learned in the chapter(s).