10 Things I Love About 'To Catch a Thief’ 1955

 

Golden beauty Grace Kelly and darkly handsome Cary Grant make a
sizzling screen team in Alfred Hitchcock's 1955 hit "To Catch a Thief."

I’ve only seen clips of Alfred Hitchcock's To Catch a Thief over the years, until I wrote this post. Released in August 1955, the romance heist film seemed fluffy to me, compared to his other '50s classics. Well, I was right… and wrong. 

Alfred Hitchcock's 1955 hit, "To Catch a Thief," was light comedy and suspense, 

with great style and romance.

Hitch’s To Catch a Thief IS total fluff, but it's also stylish, smart, sexy, and totally FUN fluff. Here’s at least 10 reasons why!

Great director, stars, & scenery made '55's "To Catch a Thief" a picnic to film.

Grace Kelly looks ravishing in her Edith Head gowns, as she seduces Cary Grant, 

in 1955's "To Catch a Thief."

#1: Grace Kelly as Francie Stevens, a game rich girl on holiday, is a pleasure. Kelly pursues Cary Grant’s reformed thief, and she is confident, bright, funny, and coolly sexy while doing so. Tan and very blonde, Kelly looks stunning in her Edith Head costumes. Like another timeless '50s film icon, Audrey Hepburn, Grace followed her own style sense. Aside from classic clothes, Grace's hair and makeup are subtle. No stiff, matronly hairdos or stenciled, overstated makeup, which was so common in post-war Hollywood films, even with young actresses. Grace's golden locks aren't brassy, like the other blonde bombshells. Kelly's gowns are stellar and her '50s casual wear is fun, not frumpy or fugly. In a word, Grace looks magnificent. Kelly is also fun and relaxed, classy but not pretentious, and she and Cary Grant have a great rapport and chemistry.

Cary Grant as suspected jewel burglar John Robie, in Hitchcock's 1955 hit,
 "To Catch a Thief."

 Grace Kelly gowned by Edith Head & Cary Grant looking handsome in a tux.
 Hitchcock's 1955 hit, "To Catch a Thief."

#2: Cary Grant at 50 is at the very peak of his leading man persona in To Catch a Thief, as one-time jewel thief John Robie. Cary's charm was contrasted with his enigmatic side, used well by Hitchcock, especially in darker roles, such as Notorious and North by Northwest. Here, Hitch and Cary play the Grant-type character mostly for light humor. And Cary's gift for physical comedy is on display, like the chase scene through a farmer’s market floral display. Grant is effortlessly bemused and amusing, as the former thief suspected by everyone as up to his old tricks again. Cary's fit, graceful, and super-stylish. Cary looks like a million and has a deep tan that George Hamilton would kill for! Grant had impeccable taste and Hitchcock was fine with him selecting is own wardrobe.

Alfred Hitchcock's 1955 hit, "To Catch a Thief."

#3: In To Catch a Thief, actually filmed the summer of '54, Alfred Hitchcock's storytelling was tight, the mix of exterior and interior filming seamless, the notion that a blonde actress could be sexy and smart was fresh, and escapist romance didn't have to be mindless. Hitchcock was quoted as saying that he didn't make films that were a slice of life, but piece of cake. To Catch a Thief is one tasty slice of cinematic cake.

Cary Grant's suspected thief escapes by bus, only to end up seated next to 

director Alfred Hitchcock,  in 1955's "To Catch a Thief."

I think Alfred Hitchcock was at his very peak in the first half of the 1950s. Films like Strangers on a Train, Rear Window, Dial ‘M’ for Murder, and To Catch a Thief were all precise and taut storytelling. Hitch had some big hits after Thief , but they became longer and eventually more repetitive and belabored—Marnie is the perfect example of what torpedoed his film director standing. The notable exception was 1960's Psycho, which was Hitchcock's rebuttal to critics that he could indeed make down and dirty thrillers, with just as much directorial style. Then it was right back to leisurely suspense films, while trying to create a new Hitchcock blonde—all of which was swiftly becoming passé.

Grace looking chic in Edith Head fashions, in Hitchcock's stylish
1955 hit "To Catch a Thief."

#4: Edith Head designs some gorgeous gowns for Grace Kelly, and assembles some classic day looks as well. Head was at her zenith in the 1950s, dressing seemingly every star, but notably three top young actresses: Grace Kelly, Audrey Hepburn, and Elizabeth Taylor.

Grace Kelly in a gown fit for a future princess and Jessie Royce Landis
as her outspoken mother, in 1955's "To Catch a Thief."

Head gets dinged by some critics as a prolific rather than inspired designer. I think she walked the fine line of pleasing her studios (Paramount and then Universal), directors, and stars very well, while developing an enduring reputation. Head's career lasted 5 decades and won her 8 Oscars, which should speak for itself.  Hitchcock loved Head because she understood what he wanted. Edith liked working with Hitch because he trusted her to do her job. 

Michelle Auber as the French girt with an eye for Cary Grant's "The Cat,"
in 1955's "To Catch a Thief."

#5: The supporting cast is all in great form: Jessie Royce Landis as Kelly’s blunt mother; John Williams as the insurance detective; and Brigitte Auber, who played tomboyish Danielle, is still alive at 101! The international cast mixes well with the American and British stars.

The beautiful scenery and stars were a huge part of Hitchcock's 1955 smash hit, 

"To Catch a Thief."

#6: The French locales, selected from various parts of the southern France coast, are breathtaking. One of the reasons that some of the location shooting was so eye-catching is that To Catch a Thief was one of the first films to use a helicopter for filming. Most of the interiors were shot back on Paramount's lot. The sets are gorgeous and they are seamlessly woven with the location outdoor shots.

"It's true, Cary. Fireworks are '50s film symbolism for sex!"

#7: The cinematography, the score, and all the production values are top notch. Paramount’s color in Vista Vision is lovely and superior to the color films of mid-century MGM and WB. Hitch was now working with some of his favorite people, in front of and behind the camera. And the final results showed onscreen.

#8: Thief’s script by John Michael Hayes is witty and fun. Some risqué lines and the lovers acting like grownups are refreshing to see in a mid-1950s film are refreshing. 

To wake up in this French villa every day with Cary Grant would be heavenly!

 1955's "To Catch a Thief."

#9: The home of Grant's reformed burglar is most impressive, inside and out. I imagined living there while watching To Catch a Thief!

Grace Kelly's rich girl embraces the splendors around her: the Riviera, Cary
 Grant, and her Sunbeam Alpine sports car! From 1955's "To Catch a Thief."

#10: Kelly’s rich girl’s car is a gunmetal blue Sunbeam Alpine that would pair perfectly with John Robie’s villa.

Grace Kelly wet and wonderful here as the rich girl who is after Cary Grant's
 smooth ex-criminal, in 1955's "Too Catch a Thief."

Some things that I didn’t love about To Catch a Thief are minor quibbles: Grant trying to pass himself as a business man from Oregon—seriously! Or Hitch trying to palm Auber off as younger than Kelly. She's 3 years older and looks even more so! Grace’s Francie treated as an old maid and handed off to a stranger 25 years her senior by mother Landis was patently ridiculous—though he WAS played by Cary Grant. And though Kelly herself found older men attractive off-camera—but that's another story! Finally, this gorgeous movie begins with a huge close-up of a frumpy matron in the morning, hairnet and all, shrieking that her jewels are gone, is so repulsive. An example of Hitch's perverse sense of humor?

Cary Grant at 50 was in fine form, in 1955's "To Catch a Thief."

To Catch a Thief may not be the most suspenseful Alfred Hitchcock film, but it's one of his most stylish, a perfect light entertainment. Enjoy!

Grace Kelly gets the last word, but Cary Grant gives the final reaction, 
in 1955's "To Catch a Thief."

North by Northwest 1959

The Alfred Hitchcock catch me if you can classic, North by Northwest, was the film forerunner to the modern summer blockbuster. My take: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

Rear Window 1954

Rear Window remains one of Alfred Hitchcock’s best Technicolor blockbusters. My take:

https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

Hitchcock’s Fine ‘Foreign Correspondent’ 1940

 

Is reporter Joel McCrea (R) tilting at windmills? George Sanders & Laraine Day
 certainly wonder, in Alfred Hitchcock's 1940 film, "Foreign Correspondent."

Rebecca was Alfred Hitchcock’s 1940 American breakthrough smash hit, and deservedly so. Yet Foreign Correspondent, the British director’s other 1940 film, was just as fine in its own right.

Director Alfred Hitchcock making his customary cameo, here with star Joel McCrea,
in 1940's "Foreign Correspondent."

Foreign Correspondent is imaginative suspense mixed with wartime espionage, and makes for rousing entertainment. Some of Hitchcock’s favorite film themes are represented in Foreign Correspondent: the everyman thrown into intrigue; the “MacGuffin,” Hitch-speak for the thing everyone is after; the sympathetic villain; the imposters; sudden violence; suspense set pieces against memorable backdrops.

Joel McCrea as John Jones grows from brash, boyish reporter to a fine
"Foreign Correspondent," Alfred Hitchcock's 1940 espionage film.

Joel McCrea was cast when Gary Cooper turned the title role down. Though Coop had his own style, McCrea was a better choice, a more open and spontaneous actor. As John Jones, Joel’s crime reporter turned foreign correspondent, who’s given the handle Huntley Haverstock. McCrea runs the gamut from brash young reporter, to flirtatious fellow, and serious correspondent, who relies on his gut instincts. McCrea’s natural style ages well and he was a precursor to William Holden’s charming, solid all-American guy.

Laraine Day was just 19 when she played love interest Mary Fisher in 1940's
"Foreign Correspondent."

Laraine Day, in an early role as Carol Fisher, is McCrea’s love interest. Day does well enough, but is definitely a product of her film era. Herbert Marshall is Stephen Fisher, Carol’s father, and revealed to be the villain half way through, another classic Hitchcock move. Marshall is quite empathetic as the flawed man, and had the ability to play both noble and nasty men. George Sanders is Scott ffolliatt, another correspondent who aids McCrea’s character on his mission. George is so young here, and playing not so jaded as he was often later cast. Albert Bassermann is a human “MacGuffin,” in this case, Van Meer, a captive politician. He is excellent as the prisoner worn down by torture for his political secrets, but not before Van Meer gives a stellar speech to the villains. Robert Benchley is the urbane fellow reporter Stebbens. Pre-Santa Claus Edmund Gwenn is a darkly comic villain who tries with determination to rub out McCrea’s reporter. Eduardo Ciannelli is the creepy main villain, Krug, who has a very good reason for wearing turtlenecks! Harry Davenport, Doctor Meade of GWTW fame, is no-nonsense as McCrea’s editor.

Albert Bassermann learned to speak English phonetically for his role as Van Meer, here with Joel McCrea, in 1940's "Foreign Correspondent."

The production of Foreign Correspondent is most atmospheric: The photography, the tight story, and special effects, which often depicts overcast days, pouring rain, and pitch black nights. There’s a sweeping score by Alfred Newman, William Cameron Menzies created the amazing set piece—that stunning plane crash, all aided by Rudolph Mate’s painterly cinematography.

The memorable war time message has been seen as a weak aspect of the movie. Quite to the contrary, I think. This was the cross roads the United States was at, whether to commit in joining WWII. England was starting to get attacked when Foreign Correspondent was released. Just over a year after this film’s release, the US was attacked by Japan at Pearl Harbor. So, the film’s message that the enemy was coming closer was more than apt.

Here is Joel McCrea’s Foreign Correspondent, written by Ben Hecht, giving the word to American audiences in the film’s finale:

“Don't tune me out, hang on a while—this is a big story, and you're part of it. It's too late to do anything here now except stand in the dark and let them come... as if the lights were all out everywhere, except in America. Keep those lights burning, cover them with steel, ring them with guns, build a canopy of battleships and bombing planes around them. Hello, America, hang on to your lights: they're the only lights left in the world!”

 

As London is beginning to get bombed, McCrea's reporter makes his rousing speech. When "Foreign Correspondent" was released in July 1940, it was really happening.

Producer Walter Wanger of Algiers, stayed out of Hitch’s hair in Foreign Correspondent, unlike his boss, producer David O. Selznick, who drove him crazy on Rebecca and other films. Hitchcock brings his distinct point of view to each aspect of the story, whether it’s the suspense, human drama, romance, or leavening humor. In his second year of US filmmaking, Alfred Hitchcock had arrived with his two 1940 films. Foreign Correspondent is a worthy precursor to the later Notorious, The Man Who Knew Too Much, and North by Northwest.

In Alfred Hitchcock's second year in Hollywood, he directed 1940 releases "Rebecca" & "Foreign Correspondent."

Here’s my look at Hitchcock’s last hurrah for sheer entertainment, North by Northwest: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

Cary & Audrey Bring Charisma to “Charade” 1963

 

Cary Grant & Audrey Hepburn charm in 1963's suspense-comedy "Charade."

 The Stanley Donen comedy-suspense film Charade was filmed late ‘62/ early ‘63, and released for 1963's Christmas holidays. At age 65, my first time watching Charade was during 2024’s Christmas holidays, and I’ve been watching classic movies since I was in my early teens!

My impression had always been that Charade was a bland version of Alfred Hitchcock, so I'd just watch North by Northwest for the millionth time. This is especially inexplicable even to me, because I enjoy Cary Grant and Audrey Hepburn a great deal. I’m so glad I corrected my Charade situation.

Once again, Cary Grant is the charming stranger, in 1963's "Charade."
Should Audrey Hepburn's heroine trust him?

Charade really is like Hitchcock’s more mainstream works because there are none of the emotional undercurrents that often suffuse Hitch's more serious work. I’d compare the mix of suspense, romance, and comedy along the lines of Hitchcock’s To Catch a Thief and North by Northwest. Likewise, Charade is smart entertainment. Much of this is due to director Stanley Donen, one of the best for grown-up entertainment. Donen’s humor and intelligence made him versatile in musicals, comedy, and drama. In Charade, Donen brings all the ingredients of this cinematic confection together beautifully. Peter Stone got his first screenwriter credit at 33 from his own story, and it’s quite smart, leading to an association with director Donen. Also, Stone had a solid career in film, on television and stage, winning an Oscar, Emmy, and two Tony awards.

Here's a Hitchcock-esque shot from Stanley Donen's 1963's "Charade." Definitely in
 the Hitch style, Donen does a fine job mixing suspense, comedy, and romance.

I knew right from the start I should have watched Charade eons ago. The opening titles are by Maurice Binder, famed for his 16 opening titles for the James Bond film series, starting with the first, Doctor No. The colorful graphics would make Hitch fave Saul Bass green with envy. The insinuating score is by Henry Mancini, a subtle contrast to Bernard Herrmann’s booming scores for Hitch. 18-time Oscar nominee Charles Lang supplies the glamorous cinematography of the stars and locales.

I love this romantic shot of Cary Grant & Audrey Hepburn in 1963's "Charade."

Charade’s opening scene shows a dead body dispatched from a moving train. That would be Charles Lampert, estranged husband of Audrey Hepburn’s “Reggie.” When we first meet her at a ski resort, she doesn't know yet. What Reggie does know is that her marriage is over. She meets cute with mystery man Cary Grant, who introduces himself as Peter Joshua. Not so cute is when Reggie returns home and finds it emptied of all belongings. Then Cary shows up again, very much the Hitchcock mystery man, who finds her a modest hotel. And there are three men also in residence, who feel she has money from her hubby that is due to them. And they aren't nice about it: Ned Glass is Gideon; James Coburn is Tex; and George Kennedy plays Scobie. They are former WWII soldiers, who want their share of money from absconded war time gold that Charles cheated from them. A fourth man, Carson Dyle, was wounded and left for dead at the time. Soon after, Walter Matthau is introduced as a CIA administrator, who also wants the money, as it belonged to the US OSS.

James Coburn, as bad guy Tex, who just has a revelation, in 1963's "Charade."

Walter Matthau with the CIA? In "Charade," most of the characters don't even know
 what the agency stands for. Such innocent times!

Reggie doesn't have the money, but the thugs don't believe her. Cary's character’s identity changes practically scene by scene, and Audrey’s widow doesn't know whether to believe him or not. There are a number of alternately thrilling scenes and amusing moments, which leads to a genuinely suspenseful climax. The real villain is no surprise, but that's not Charade is really about—it’s the ride, not the destination.

Audrey Hepburn's widow gets an eyeful about her husband's past,
in 1963's "Charade."

Audrey Hepburn is most endearing as the beleaguered heroine. Audrey is amusing in her exaggerated reactions to the extreme situations, warm in her attraction to Grant’s mysterious stranger, and natural in her dramatic moments. It takes subtle skills to go from the various moods this type of movie offers. Hepburn also embodies flawless early ‘60s style here: stylized hair and makeup, plus simply chic clothes by Hubert de Givenchy. The look is ultimately timeless and Audrey puts the glamour girls of today in the shade. A running gag in Charade is when famously thin Audrey’s heroine is anxious, she starts eating! Hepburn would reunite with director Donen in one of their best films, 1967’s Two for the Road.

Audrey Hepburn's look is timeless in 1963's "Charade."

There are moments that foreshadow Hepburn’s 1967’s Wait Until Dark. Like when the thugs torment her, especially James Coburn’s Tex, as he accosts her with lit matches in a phone booth. Or characters who misrepresent themselves to Audrey’s trusting character. Reggie drolly wonders if her husband’s tooth powder is actually heroin, a substance that was a strong plot point in Dark.

Audrey Hepburn gets a rehearsal for the torment to come, in 1967's "Wait Until Dark."
Here, James Coburn is the villain terrorizing Hepburn, in 1963's "Charade."

There’s been criticism of Cary Grant as too old for the role opposite Audrey. Well, 60 at Charade's release, he was. But he was also perhaps the best preserved male star of his era. Grant's tan, lean, and stylish. Look at the three big male stars that have just passed 60 in recent years: Depp, Cruise, and Pitt. Cary Grant is in better form than any of them, in my opinion. I think that Cary Grant has great chemistry with Audrey Hepburn in Charade. Cary had more in common with Audrey than he did with Doris Day in the previous year’s That Touch of Mink. Grant’s role in Charade is as perfectly tailored to his persona as his suits. Grant is most cool and charming. But the role also gives him some humorous moments to off-set Cary’s aloofness.

To me, Cary Grant looks like a million at 60, when 1963's "Charade" was released.

It's interesting that James Coburn, Arthur Kennedy, and Walter Matthau play supporting roles here. They are all quite good, no doubt. And soon movie stars like Grant and Hepburn would be obsolete; Cary and Audrey would soon retire. And realistic actors like the first three would become big stars—for a while. Of the trio, Walter would retain his star status. Coburn would later play villains, and Kennedy character roles, after the “realistic” trend of late ‘60s and early ‘70s played out.

George Kennedy & Cary Grant: '60s realism meets 60-year-old classic leading man.
1963's "Charade."

Charade is like a snapshot of an era, when “Camelot” at its peak, with some shots of stars Grant and Hepburn giving off a Jack and Jackie Kennedy vibe. Actually, the film icons made their style imprint first. Anyway, after 1963, life and movies became increasingly realistic and less romantic than the charming Charade.

Cary Grant & Audrey Hepburn give off a JFK & Jackie vibe here, stylish & classy,
in 1963's romantic suspense comedy, "Charade."

Here’s Cary Grant, in one of his and Hitchcock’s best, my take on 1959’s North by Northwest: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

And here’s one of Audrey Hepburn’s latter day best, my look at 1967’s Wait Until Dark: https://ricksrealreel.blogspot.com/2022/10/wait-until-dark-slick-thrills-stellar.html

 

Rope 1948

 

Rope: Farley Granger, James Stewart, and John Dall makes small talk about murder.

Rope is one of those films that was regarded as a disappointment upon release, but now has many fans who sing its revisionist praises.

This was Alfred Hitchcock’s grand experiment to create a cinematic effort that looked seamless, with no obvious cuts. What the cast and crew of Rope had to go through to achieve single takes that were about 10 minutes long was arduous, to say the least. It’s been discussed to the point of obsession, so I’ll only say that the end result looks like a beautifully filmed play. Rope actually was a Broadway drama, by the playwright of Gaslight, which ironically, movie fans often mistake the film version as Hitchcock’s work.

(R) Alfred Hitchcock, with his 'Rope' cast, on the film's only set.

Rope is the sum of very extreme parts, so I’ll focus on the positives of this film first. This was Hitchcock’s first film in color, and it’s very subtle for a ‘40s movie, when the creator of Technicolor’s wife—and “advisor”—Natalie Kalmus always wanted color to pop from the screen. The color, lighting, and cinematography are beautiful, but not in the showy studio era way.

Hitchcock creates his customary mood of suspense. The premise is grisly, but the execution is mild, reminding me of Night Must Fall, with the charming killer who kept a head in a hat box. The tension doesn’t come from the murder, but whether the pair will get away with the deed. Rope riffs on the Leopold/Loeb murder case as an inspiration, as Brandon (John Dall) and (Philip) Farley Granger kill for thrills and to prove their superiority.

John Dall and Farley Granger with their title co-star, who gives a more genuinely
taut performance than either of them!

They kill a fellow student they deem as inferior and hide the body in a trunk. The macabre kicker is they proceed to host a small dinner party, with the buffet served atop the trunk! The film happens in “real time”—for a movie, that is. Except for the opening, the entire film takes place in the murderers’ apartment. Obviously, these young college grads are rich, as their apartment is resplendent, and they aren’t exactly serving hotdogs and beer. The lavish skylight backdrop, while obviously artificial by today’s standards, is quite beautiful, and I found myself staring at it during the film’s dull patches.

The 'Rope' set got the best reviews upon its release.

Since the killers invited the victim’s father and fiancee to the party, tensions arise as to his whereabouts, as he was also expected as a guest. And once the mentor to the young men arrives, it becomes a cat and mouse game as to whether they can fool him, or if he will catch them in their web of lies.

As the "buffet" is cleared, the body is hiding in plain sight.

Rope is a more cerebral suspense film for Hitchcock, and perhaps disappoints fans who remember the movies that made his reputation in the ‘40s, or his spectaculars of the post-war era. For suspense lovers, the premise is still intriguing, and the execution is expertly smooth.

Rope's play-like presentation isn't helped by staging like this.

However, where Rope slacks is in the dialogue, the characters, and the key performances of the killers. Arthur Laurents, who was gay, wrote the screenplay and makes it clear that the two men are a couple, as Leopold and Loeb were said to be. But I feel Hitch’s influence on the story, both good and bad. The good is the subtle suspense. The bad is the occasional heavy-handed attempts at humor, as when the guests are trying to remember the name of a film they’ve just seen—Hitch’s Notorious.

'Rope's' John Dall and Farley Granger compete in a cinematic jaw-jutting contest.

The two leads are twisted villains and are played by two actors with no depth, charisma, or empathy. It’s a trick to play the star villain and at least make the audience want to understand you. Though John Dall and Farley Granger were both gay, like Brandon and Philip, they still aren’t up to the task. While Dall grandly overacts and makes as many faces as Farley, Granger does his hurt puppy dog routine, jutting his jaw to make his pout even more pronounced. The theatrical acting is from another era at its worst, because there were up and coming young actors who represented a more natural style of acting. Granger, to his credit, tried to expand his range and experience throughout his long career. Much like Richard Chamberlain, Farley was a teen idol first, known for his gorgeous looks, and later broke away from that mantle. As for the affected Dall, his film career ended quickly, for several speculated reasons, and his reputation rests mainly on two cult classics, Rope and Gun Crazy.

Farley Granger and his two go-to acting expressions: pouting & hurt puppy dog eyes. 

Frankly, most of Rope’s cast doesn’t fare any better. They are archetypes, performed archly, with the kind of “smart” movie talk that I can’t abide. The New Yorker’s critic hit the nail on the head way back in ’48: "In addition to the fact that it has little or no movement, Rope is handicapped by some of the most relentlessly arch dialogue you ever heard."

Joan Chandler and Cedric Hardwicke give 'Rope's' most empathetic performances.

Constance Collier as the “colorful” party guest and Edith Evanson as the busybody maid are mildly amusing clichés. Douglas Dick is bland as the ex-boyfriend of the female lead. Dick Hogan as the victim, David, retired after this film—no comment! The notable exceptions are Cedric Hardwicke as David’s father, who underplays the worried dad, with genuine heart. Joan Chandler, whose brief career included playing John Garfield’s sweetheart in Humoresque, manages to convey a real person despite the overbearing dialogue. Finally, James Stewart is a rock as the college creeps’ former professor, for whom they seem to have a love/hate relationship. While Stewart was miscast as the sophisticated intellect, this is probably one of the last movies where Stewart seriously tones down his folksy “Jimmy” persona. And he’s really a supporting player, coming in midway into the action. That favor to Hitchcock paid off, when Stewart did three great Hitchcock movies with him in the ‘50s: Rear Window, The Man Who Knew Too Much, and Vertigo.

James Stewart is the murderers' one-time mentor, who should have skipped this soiree.

What’s irritating about Rope is that the two leads go to a great deal of trouble to lure their victim, kill him, and then in an act of bravado, hide his body in a trunk, and serve their guests from a buffet on that trunk. They then act like a couple of basket cases the moment the deed is done. Dall’s character sneers and postures, while Granger is as jumpy as an oversensitive cat. Genius professor Stewart is on to them from the get go—and he must a genius to guess that his hosts murdered someone and then hid the body beneath the dinner spread, right? I also found Stewart’s Rupert berating the bad boys for taking his “superman” superiority talk so literally, it feels like a cop out, given his earlier jibes about murder.

There’s a dualistic feel about Rope: from a technical and storytelling standpoint, it’s tense and taut; but the artificial acting and dialogue alienate one to the point of stupefaction.

John Dall & Farley Granger posture in profile, in 'Rope.'

Here’s my other takes on Alfred Hitchcock movies:

One of my fave fun Hitch films, NBNW: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

A tribute to Hitchcock blonde Eva Marie Saint: https://ricksrealreel.blogspot.com/2019/07/eva-marie-saint-secret-weapon-of-north.html

A perfect Hitchcock picture, Rear Window: https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

One of Hitch’s most controversial, Marnie: https://ricksrealreel.blogspot.com/2017/02/hitchcocks-marnie-misunderstood.html

 FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/