Tense, clever and with a murder at the centre of the story based on a morally repellent premise, Alfred Hitchcock’s 1948 Rope showcases two guys – who seem travesties of Nietzsche’s Übermensch – attempting a very misguided and ill-thought show of superior intellectual prowess.
In the end, what gets them caught is a stupid mistake, a sign of utter weakness: a hat forgotten inside a cloakroom. How ironic then that two supercilious individuals prove to be the perfect representation of their most derided weakness? Wanting to prove a point of a philosophy which is highly critical of the status quo and highlights the intelligence of those pointing the finger, they forget to check their own stupidity. They simply do not get that Nietzsche’s Superman is meant to represent a hypothetical counterpoint to our modern paradigm, and does not require any practical application. Continue reading →
A quintessential horror movie and arguably the most iconic of all of his films, Alfred Hitchcock’s 1960 Psycho kills its protagonist half way through the story, replaces her with a mama’s boy and transforms itself from a mystery tale into a poignant psychological study.
There is no shadow of a doubt as to Alfred Hitchcock being one of the greatest directors of all time. His films have by now transcended the realm of cinema and become part of a wider cultural milieu – icons on themselves. As the movies reach an ever-expanding demographic and their whodunnit aspect subsides, it gets harder to be shocked by their themes and storylines, slightly diminishing the experience of watching the films, but paradoxically also adding new undiscovered pleasures to it. Continue reading →