Alfred Hitchcock and One-Location Movies: Mastering Limited Settings with Suspense, Tension, and Innovative Techniques
With over 50 movies to his name, Alfred Hitchcock has had a huge impact on movies. He’s not just a director; he’s a key figure in the history of films. This article will focus on “Alfred Hitchcock and One-Location Movies,” looking at how he creates suspense and tension in limited settings; starting with “Lifeboat,” the first of Hitchcock’s ‘limited location’ movies. Then, exploring others like Rope (1948), Dial M for Murder, and Rear Window (both 1954).
Lifeboat (1944)
“Lifeboat” tells the story of a group of people adrift in the Atlantic Ocean after their ship was sunk by a German U-boat during World War II. The diverse group includes a journalist, a nurse, a wealthy industrialist, a ship’s steward, and a seaman. The plot takes a turn when they rescue a German naval officer from the water, leading to tension as they debate whether to treat him as an enemy or a fellow human in need. The confined space of the lifeboat intensifies the psychological drama, with suspicions and alliances forming among the survivors.
Hitchcock explores themes of survival, morality, and the impact of war on individuals in this gripping tale set in the constrained space of a lifeboat in the vast ocean.
U-boats, short for Unterseeboot (German for under-sea boat), were naval submarines primarily used by Germany during the First and Second World Wars.
“Lifeboat” is the only film he made for 20th Century Fox, shot mostly at their studio on Pico Boulevard in what is now Century City. Production took place from August 3 through November 17, 1943. The film received three Oscar nominations for Best Director, Best Original Story, and Best Cinematography — Black and White. Tallulah Bankhead, the lead actress, won the New York Film Critics Circle Award for Best Actress.
Rope (1948)
“Rope”’s narrative centres around the actions of Brandon Shaw and Phillip Morgan, who use a rope to strangle their former classmate, David Kentley. The motive behind this heinous act is their desire to establish intellectual dominance and showcase their prowess in executing the perfect crime.
What sets “Rope” apart is Hitchcock’s innovative approach to presenting the murder in a continuous, uninterrupted take, creating the illusion of real-time events unfolding. Following the murder, Brandon and Phillip host a dinner party in their apartment, strategically concealing the victim’s body on a chest used as a serving table. The unsuspecting guests include David’s friends, family, and their former schoolteacher, Rupert Cadell, unwittingly drawn into the intricate charade.
Throughout the film, tension escalates as Rupert grows increasingly suspicious, and the two murderers grapple with the psychological weight of their actions. “Rope” delves into themes of morality, arrogance, and the repercussions of toying with life and death. Based on Patrick Hamilton’s play of the same name, Hitchcock’s creative use of long takes adds an extra layer of suspense to the psychological thriller.
The film’s set was constructed on Warner Bros, Stage 12, featuring a penthouse apartment with a living room, dining room, hallway, and part of a kitchen. A unique aspect of the set was its movable walls, suspended from overhead U-tracks, allowing grips to shift them out of the camera’s way. Additionally, the set included furniture on wheels, such as a large wooden chest, enabling it to be moved when necessary. The backdrop, a massive cyclorama, showcases intricate details like smoking chimneys, changing clouds made of spun glass, and unfolding sunsets.
Despite completing filming within 8 days, Hitchcock, dissatisfied with the studio sunset, decides to reshoot the final 5 reels of the film, extending the production by an additional 9 days.
Pay attention to the strategic use of an establishing shot featuring a street in ‘Dial M for Murder’ and ‘Rope’, capturing the essence of the location. Hitchcock utilises a few exterior shots to effortlessly transport the audience to distinct apartments in London or New York, while both movies were shot within a studio setting.
Dial M for Murder (1954)
“Dial M for Murder” follows Tony Wendice, a retired tennis player planning to murder his wealthy wife, Margot, for her money. Tony learns about Margot’s affair with a writer named Mark Halliday. He then convinces an old friend, Charles Swann, to commit the murder. The plan goes wrong, and Margot ends up killing Swann in self-defence. Tony changes his strategy and frames Margot for Swann’s murder to secure her conviction and execution. The film’s suspense unfolds as Chief Inspector Hubbard investigates, revealing the complexities of Tony’s plot.
Shot over 36 days at Warner Brothers’ Burbank Studios, the film features a designed apartment set and scenes filmed on the streets of London. It received acclaim for its ingenious plot twists, Alfred Hitchcock’s direction, and the outstanding performances of the cast.
Rear Window (1954)
“Rear Window” tells the story of L.B. “Jeff” Jefferies, a photojournalist played by James Stewart, who is confined to a wheelchair in his apartment due to a broken leg. As he recuperates, Jeff passes the time by observing his neighbours through the rear window of his apartment.
As Jeff watches the daily lives of his neighbours, he becomes suspicious of Lars Thorwald, a salesman whose wife suddenly disappears. Jeff begins to believe that Thorwald may have murdered his wife. He enlists the help of his girlfriend, Lisa Fremont (played by Grace Kelly), and his nurse, Stella (played by Thelma Ritter), to investigate.
The film unfolds as a suspenseful exploration of voyeurism and obsession. Jeff’s voyeuristic activities and growing suspicion of Thorwald create tension and intrigue. The confined setting of Jeff’s apartment adds to the suspense, and Hitchcock masterfully uses the limited viewpoint to engage the audience. Filmed over 48 days from November 27, 1953, to January 13, 1954, the production took place at Paramount Studios in a meticulously recreated Greenwich Village courtyard set.
The four movies — “Lifeboat” (1944), “Rope” (1948), “Dial M for Murder” (1954), and “Rear Window” (1954) — directed by Alfred Hitchcock share several common elements:
Innovative Storytelling Techniques: Hitchcock was known for his innovative storytelling methods, and each of these films showcases unique narrative approaches. “Rope” is famous for its continuous, unbroken take, “Dial M for Murder” emphasises the intricacies of a well-constructed murder plot, and “Rear Window” uses the confined setting and voyeuristic viewpoint to create suspense.
Limited Settings: These four films primarily unfold in confined or restricted settings. This limitation intensifies the suspense and allows Hitchcock to explore the psychological dynamics of the characters.
Exploration of Morality and Crime: All four films delve into themes of morality, crime, and the consequences of human actions. Whether it’s the moral dilemmas faced by characters in “Lifeboat,” the intellectual arrogance leading to murder in “Rope,” the intricate plotting in “Dial M for Murder,” or the exploration of voyeurism and suspicion in “Rear Window,” Hitchcock often focused on the psychological and moral aspects of his characters’ decisions.
Complex Characters: Hitchcock was known for creating complex and psychologically nuanced characters. Each film features characters with hidden motives, moral conflicts, and intricate relationships, adding depth to the storytelling.
Suspense and Tension: Hitchcock was a master of suspense, and all four movies are crafted to keep the audience on the edge of their seats. Whether through the confined setting, intricate plotting, or moral dilemmas, each film builds and sustains tension throughout.
In essence, these movies collectively showcase Hitchcock’s signature storytelling style, characterised by psychological depth, innovative techniques, and a focus on suspense.
