Rope (1948)

       Alfred Hitchock's Rope (adapted from the play by Patrick Hamilton) is particularly famous for one special novelty: the use of long takes with little to no editing, making it appear as though the film is shown in one long continuous shot. While the film has a few cuts here and there, the way the film is shot happens to be only the second most impressive thing in the film; the other thing is the acting. The stellar performances and the camera continually rolling (for the most part) compliment each other in a way that is almost always reserved exclusively for the stage. Indeed, given that it's based off a play, this film acts like one completely, featuring one setting during its entirety and taking place in real time. It also features minimal music and relies only on the dialogue of its actors, as well as the ever growing tension that permeates throughout the course of the film.

       The film's plot is fairly simple: It starts with the murder of David Kently, strangled with a rope by Brandon Shaw (John Dall) and Philip Morgan (Farley Granger). The reason why they kill David is not explained immediately but becomes clear during the course of the film. As it turns out, they're hosting a cock tail party the same day they kill David, but as one will find out, all this was intentional and carefully planned. I won't go into much detail, since explaining any more will spoil the film and its surprises. We see that the character's motivations seem to stem from various things, from possible jealousy to simply the thrill of taking the life of another individual. The characters of Brandon and Philip (played phenomenally by both Dall and Granger) are so different from one another it almost seems like it was meant to be that these two would concoct such a heinous act together.

       However, the actor who gets top billing here is James Stewart, playing the former head master of Brandon and Philip, Rupert Cadell. Brandon believes that of all people, Rupert would be the one to understand his reasoning behind murdering David. Stewart's character is incredibly important and unique and his acting is also top notch, with his best scene being the final monologue he delivers at the film's end. Stewart's trademark dialect also makes its appearance and actually adds to his character in a way I didn't think possible (although in a way, his dialect always adds to whatever character he plays to some degree).

       The rest of the actors do an excellent job, but the standouts are without a doubt Dall and Granger. The character of Philip is such a nervous wreak throughout while Brandon is so smug and proud of what he's done he can't hide his excitement. His explanation for murder and his reasoning for doing what he does is so convincing and evil it's more than just thrilling in itself to witness; it's outright disturbing. To see Philip go from concerned to just completely losing it is also something wonderful to behold. The suspense attached to the possibility of anyone knowing what these two have done is another thrill the film does expertly and it wouldn't be half as exciting if not for the fine performances taking us through this nerve shattering event.

       Without a doubt in my mind, Rope is one of the greatest thrillers I've ever seen. As a film in general, it is also one of the best I've ever seen, packed with amazing performances and stellar camera effects that keep us on the edge wondering what will happen next. It may not be the most known film out there, but it's most definitely worth at least one viewing. And if you've already seen it, why not see it again, for thrill's sake?

Assault on Precinct 13 (1976)

       John Carpenter's Assault on Precinct 13 was released in 1976 and was the director's second full-length feature film. The movie tells the story of a few people trapped in an almost abandoned police station that is under siege by a gang of street killers. If that sounds like the plot to an exploitation feature, that's because it is. Assault on Precinct 13 was made on a low budget but never lets that get in the way of the action, suspense, atmosphere, or even the score (though, it might get in the way of some of the acting). While it isn't always action packed, it surprisingly keeps the attention of the viewer and is never exactly boring, thanks to the aforementioned suspense and characters.

       Shot in glorious Panavision, Carpenter makes very good use of the anamorphic widescreen format. For a film that doesn't always have a lot going on and takes place in the dark half the time, the format never seems to be put to waste. Nearly every shot takes advantage of the space that the format provides it with. The score (composed by Carpenter himself) is excellent and is only composed of synthesizers that not only sound creepy but really help establish the paranoid atmosphere of the film. Right from the opening titles (red letters on a black background), the score lets you know you're in for something serious.

       Serious seems to be the word in this film. Majority of the characters (which include a cop, two secretaries, and a couple of convicts) take everything as serious as can be. The convicts are mainly the ones in charge of the comic relief; they have a sense of humor, but are not merely there for comic relief alone and get serious when the time calls for it. The film also has a few moments that impressed me (one in particular shocked and impressed me) but that doesn't mean the film as a whole isn't good; just some moments are more eventful than others. On that note, I'd like to say this: Exploitation films typically have filler (people just talking, that sort of thing) but this movie, while not always full of action, never seems to have a moment of filler. Every scene seems to be there for a reason, and for a film where the siege doesn't occur until the half way point, that's pretty impressive.

       Assault on Precinct 13 isn't the best action movie I've ever seen, it could've been better, but for a second feature and for a low budget movie, it's actually really good. It just happens to suffer from the ol' it-could-have-been-better problem. But even with that in mind, it managed to keep my interest, managed to have plenty of suspense, and had really good action scenes. The acting is okay, but the characters themselves (especially the convicts) can be entertaining (in a low budget kind of way, I guess). Overall, it's a really good movie that is worth checking out, especially for Carpenter fans. When it comes to low budget exploitation action, or just action in general, this one delivers.

Psycho (1960)

       Alfred Hitchcock's Psycho: Is it a thriller? A mystery film? A drama? Or a horror film? Depending on when and how you see it, it could be either one or all four. Psycho tells the classic story of a woman, a man, his mother, and $40,000 in cash. It manages to keep a suspenseful atmosphere, right from the opening credits to the final shot.

       Janet Leigh plays Marion Crane, a woman who was supposed to leave a sum of $40,000 in cash at the bank, but instead decides to take the money and run. On her way out of town, she acts more and more suspicious the more she interacts with strangers, which include a police officer and a car salesman. Due to heavy rain, she decides to stay at the nearest rest area: the Bates Motel. It is here were she meets Norman Bates (Anthony Perkins) who runs the motel and also takes care of his ill mother (the Bates live in a mansion that resides above the motel). From this point on, revealing anymore of the story would be a crime. Even though the film has been around for years and plenty of people know what happens after Norman and Marion meet, the most disrespectful thing I could do in a review is reveal everything that happens. I will say this: the infamous shower scene is only the beginning of the twists and turns this movie has in store.

       Hitchcock does some things in Psycho that I still haven't seen done in any other movie. His decision to not show all the details to certain events frees him from the dreadful issue of continuity errors; it's something that is better shown than explained. Hitchcock also uses very good camera techniques to show use interesting perspectives of scenes (this comes in handy for most of the film). The black and white is also an interesting artistic choice, but I don't know what kind of effect it it supposed to have. That being said, were the film in color, it wouldn't have the same effect. I can't put my finger on it, but something about the black and white cinematography really works for this film.

       There isn't much I can say about Psycho technically, but there is much that can be said about its story and characters. All the actors do a fantastic job; Janet Leigh (as Marion Crane) is subtle in her paranoia and charm, John Gavin (as Crane's married boyfriend) is calm but determined, Vera Miles (as Crane's sister Lila) is caring and genuinely worried, and Martin Balsam (as Detective Milton Arbogast) is really sleuthing. However, it is Anthony Perkins as Norman Bates who steals the show and stays with you once the film has ended. His performance is so nervy and believable, that he's just too convincing. It's no surprise he's one of cinema's most famous characters. It's also very hard to talk about Norman Bates without revealing everything that happens in the movie, and as far as this review is concerned, I'm not going to do that.

       One of the highlights of the film (as is the highlight of many Hitchcock pictures) is Bernard Herrmann's score. It truly defines the mood and atmosphere of the film: the paranoia, the suspense, the insanity. While some musical themes may be repeated throughout, the music never gets tiring and always keeps you on the edge. It's a score that can be enjoyed out side of the film and can still bring chills to the spine.

       Psycho's influence has been immense. It has been classified as the first slasher film, and arguably, it is. It's also been called one of the most shocking films of all time, and unarguably, it is. It's been called one of the Hitchcock's defining films and one of the greatest films of all time. Even if it becomes less shocking with later viewings, it is nevertheless always entertaining and a fascinating study into the mind and motives of a psychopath. Psycho is a film that must be seen by anyone with an appreciation for film. It should also be seen by anyone with a right mind. It's an unforgettable masterpiece by the Master of Suspense.

Vertigo (1958)

      

       Released in 1958, Alfred Hitchcock's Vertigo was released to mixed reviews but has, in the years passed, garnered universal praise by both fans and critics alike, calling it one of Hitchcock's defining works. For the first hour, I admired and enjoyed the beautiful cinematography and great acting, but was a little less than thrilled by the very little action happening. Then, something happened, then things start to happen, and then, it happened. By the time the Paramount logo returned to end the film, Vertigo had done it's job and affected me in a way I could not have seen coming; at that time, I understood why so many critics and people consider Vertigo to be one of the greatest films of all time.

       James Stewart stars as John "Scottie" Ferguson, a police detective who quits the force due to his acrophobia (fear of heights) and self-blame for having let his partner die while on a chase. He gets a call from an old acquaintance that wants him to shadow his wife (Kim Novak), because he fears something may be wrong with her. Scottie decides to follow her and eventually falls in love with her. However, this evolves into an obsession that neither he nor the audience would have anticipated. Talking anymore about the film's plot will not only spoil what is easily one of the greatest mysteries in all of cinema, but it would take too long to explain. The plot of Vertigo is so much more complex than what it appears to be on the surface, so much so, that you might find yourself still thinking about it long after film's end.

       The score written by Bernard Herrmann and conducted by Muir Mathieson adds to the film's haunting atmosphere and themes, to the point that just listening to the score on its own will bring chills to the skin. James Stewart is phenomenal in the role of Scottie; he is all too convincing as a man who is slowly losing his sense of reality. The rest of the cast is excellent too, especially Novak, who is all too hypnotic in this film. Vertigo was shot in VistaVision, which truly captures the aforementioned beautiful looks that are a part of the San Francisco Bay area (including the Golden Gate Bridge from below).

       Vertigo is a film that starts off slow, but rewards your patience at its end. It's a film that takes a different route than what is usually seen in a Hitchcock thriller. It's a film that feels like an art house movie that was made for a mainstream audience. It's a film that tricks you into thinking one thing, then knocks you stone cold. It's a film that has so much too offer that one could not possibly see it only once. It's a film that will haunt you once the screen has gone black and has left you with it's shocking conclusion. It's a film that refuses to let go once you've decided to hold on. It's a film that has more than deserved the praise it has garnered in the past 50 years since its release. It's a film that I will never forget.