Why James Stewart Struggled With Hitchcock’s Daring ‘Rope’

James Stewart’s career spanned a remarkable range, from the sparkling wit of The Philadelphia Story to the enduring warmth of It’s A Wonderful Life. Yet, it was his collaborations with Alfred Hitchcock that often pushed him furthest from his comfort zone. Among these, Rope stands out—not just for its subject matter, but for the way it was made. Hitchcock, never one to shy away from a challenge, decided to shoot the entire film as if it were a single, unbroken take. The result? A technical and emotional gauntlet for everyone involved, especially Stewart.

Rope, released in 1948, is set almost entirely within the confines of a Manhattan flat. Two young men, having committed a murder, host a dinner party with the victim’s body hidden in a chest that doubles as the buffet table. The tension is palpable, the atmosphere claustrophobic. Stewart plays Rupert, a guest whose sharp mind and moral compass gradually bring him closer to the truth. But for Stewart, the real test wasn’t the psychological complexity of his character—it was the relentless, unforgiving nature of the filming process.

Long Takes and Mounting Pressure

Hitchcock’s vision for Rope meant that scenes stretched far beyond the usual few minutes. Some takes ran up to ten minutes, with the camera gliding through the set as if it were a stage play. For the actors, this meant learning and performing lengthy sequences without the safety net of frequent cuts. Any mistake—no matter how small—could mean starting over from the very beginning, not just for the person who slipped up, but for the entire cast. The pressure was immense, and Stewart felt it keenly.

He later admitted to feeling out of place in the role, believing he’d been miscast. Still, he pressed on, determined not to let down his director or his fellow actors. The film’s unique structure demanded absolute precision, and Stewart was acutely aware that a single misstep could unravel hours of work. The stakes were high, and the atmosphere on set was often tense.

Waiting in the Wings

One of the more gruelling aspects for Stewart was the sheer amount of waiting involved. As Hitchcock himself recalled,

“He had to hang around the set 18 days before making a bona fide entrance for the rolling camera.”

Stewart’s first appearance was delayed again and again as rehearsals and technical adjustments dragged on. When the moment finally arrived, the pressure was almost unbearable. Hitchcock recounted,

“It was the final dress rehearsal for reel three in which Jimmy makes an entrance while Farley Granger is playing the piano. The piano stopped and silence ensued, as all eyes went to Stewart. He just made it into the room and was ready to open his mouth. ‘Just a minute,’ I said. ‘I’d like you to make your entrance differently.’ Jimmy punched the air in a defeated gesture. ‘Hey, look,’ he complained, ‘I’ve waited three weeks for this!’”

For Stewart, the prospect of having to repeat such a long, intricate sequence was daunting. The knowledge that a single error could send everyone back to square one weighed heavily on him. It was a far cry from the more conventional filming methods he was used to, and it left him feeling exposed in a way he hadn’t experienced before.

Unconventional Storytelling

Rope was also notable for its subtext, with undertones that were considered bold for the late 1940s. The film’s exploration of morality, guilt, and hidden desires added another layer of complexity to Stewart’s performance. While he would later shine in other Hitchcock projects like Rear Window and Vertigo, Rope remained a singular challenge—a test of endurance as much as talent.

Stewart never expressed regret over taking the part, but he was candid about the toll it took. The combination of technical demands, psychological intensity, and the ever-present risk of failure made it, in his own words,

“the toughest job an actor ever had.”