Via the lack of cutting everything is straight and linear just like a rope. But in a Hitchcock-movie the rope has usually different role, too. I bet you found out already...
The murder isn't motivated too far, Hitchcock is more interested in the psychology around and behind the crime, the joy of excitement on a perfect murder. The ice-cold Brandon's ("Nobody commits a murder just for the experiment of committing it. Nobody except us.") and the chickened out Philip's execution needs to be perfect, at least this is their aim. The simple the more immaculate...
"Murder is a crime for most people, but a privilege for a few." Here we are: the whole perfectionism is supplemented by some philosophical train of thought. Nietzsche and Hitler mentioned by name, Dostoevsky indirectly by Philip ("Stop playin' crime and punishment Rupert!").
Ow, I almost forgot to mention Rupert! Next to the rather weak performances (think on the ridiculous, theatrical conversations, which interestingly doesn't disturb our immersive illusion), Rupert Cadell's figure is the strongest in this film for sure. James Stewart's mistrustful character in Rope is one of his bests. Just think on his entry or the first shadow of 
doubt in his face: Hitchcock's camera sticks on his seemingly emotionless face for a half a minute, earns as much tension as Jonathan Glazer did when "forget" his camera on Nicole Kidman's face in his Birth (I really hope you know what I'm talking about...).
doubt in his face: Hitchcock's camera sticks on his seemingly emotionless face for a half a minute, earns as much tension as Jonathan Glazer did when "forget" his camera on Nicole Kidman's face in his Birth (I really hope you know what I'm talking about...).Even if it's not Hitchcock's best film (my favorite from the master is Stage Fright, I have my reasons why...), it's absolutely worth to watch. 80 minutes for a film historical but at least film technical cornerstone isn't too much price.
8/10
[the post was motivated by Ákos, the human chimpi]
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