Alfred Hitchcock’s Rope really captivated me with its artistic take on the Leopold and Loeb case, pulling inspiration from the 1929 play of the same name. This play, which was loosely based on Robert Franks’ murder, sparked Rope’s foundation—a story of arrogant men who believe they can commit the “perfect crime.” Hitchcock’s portrayal of Brandon and Phillip, his fictionalized versions of Leopold and Loeb, embody a smug superiority. One line that captivated this shared trait was, “Murder should be an art [and] reserved for those who are very superior.” While not spoken by Brandon or Phillip, it is clear that this statement resonates with their beliefs. Brandon, with his confident talk of David’s murder, seems pleased with himself.
One fascinating aspect of Rope is its subtle hints at a romantic relationship between Brandon and Phillip without ever explicitly saying it. Watching their body language, such as the way Brandon stands shoulder-to-shoulder with Phillip, and the extended eye contact, I could feel their connection. It adds this layer of unspoken tension that makes the story exciting, their bond seeming both intimate and unsettling. Additionally, I think Hitchcock’s choice of long takes and the vibrancy of colour humanize them in a way that makes them appear as flawed individuals rather than pure monsters.
Swoon, directed by Tom Kalin takes a very different approach to Leopold and Loeb. Watching it, I found myself feeling disturbed rather than intrigued. Unlike Rope’s theatrical murder scene, Swoon shows a realistic portrayal of Robert Franks' death. The black-and-white filming, with its stark contrasts, made me feel detached, almost as if it was highlighting Leopold and Loeb’s coldness and depravity. Although Swoon openly depicts their homosexual relationship, it doesn’t have the same impact as the quiet, tense chemistry in Rope.
A line from Swoon captures their mindset: “I wanted to surpass the boundaries of intelligence for something more pure.” It’s unsettling to think about their arrogance and how they talked about murder as if it were a game, showing no remorse. Swoon paints a very real and brutal picture of two self-absorbed men who care more about their intellectual games than a young boy’s life. In my opinion, their sexuality isn’t what makes them or the film memorable; it’s their cold, narcissistic view of life. Swoon may be more explicit and violent, but I felt less moved compared to Rope, where the mystery and artistry make it more hauntingly human.
