After reading "Rope", I couldn't help but marvel at many aspects of it. It is a typical example of "the flaws are not concealed". The following content is a reason I personally think that makes it unique. It is purely some ideas extended from my private experience of watching movies. If there are different opinions, even most viewers think that I am talking about jb eggs, I am afraid it is a natural situation. (So please don’t pay attention to the tone of “us”) One of the motifs that traveled through Hitchcock’s maturity period was summarized as the “transition of guilt”. As his first color film, "Rope" may be one of the best—— And Rupert is not the belated mental criminal. In fact, the second shot of the film started with the practice of "Raskolnikov", and after that, I, as a viewer, would occasionally "God" in this space under his control. Absence-For example, when the camera is fixed on Mrs. Wilson's intention to turn the box over/and he is talking and laughing outside the painting, when Philip is incoherently showing his feet in the over-the-shoulder shot/and he is unwilling to intervene. My expectations are shrinking in pain. The audience is under Hitchcock's hypnosis, sharing this sinful thought, as if believers are controlled by a cult leader, to praise the arrogance of those who are more than God. At this time, we discovered that this time, we are Raskolnikov’s accomplices, and the audience is the object of the "guilt transfer"-not by inspiring sympathy, but by actually inducing inner sins and taking the sin of arrogance. Give it to Brandon to realize it, and then he will share the guilt with himself, and finally complete the transfer of the narrative subject in the third paragraph, with Rupert acting as a conscious spiritual victim, and the courage to liberate ourselves-we overturned His naive and ignorant delirium regained his "sound personality", and at the same time he was in the previous stage. The guilt disappeared. It's just...how fragile is the health regained through this terrible manipulation?
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