TCM FIlm Festival Day 1

Hello all!

Tonight was the first night of the 1st TCM Classic Film Festival in Hollywood, CA and it was marvelous!

I went with my friend Alex and he and I saw Monkey Business and Casablanca.

Monkey Business stars Cary Grant, Ginger Rogers and Marilyn Monroe, was directed by Howard Hawk and it is a blast. I hadn't seen it in a few years and it cracked me up as well as brought back some great memories of watching it with my Dad.

Casablanca, was better than I had imagined. To see Ingrid's talent and beauty on the big screen was breathtaking. It was a complete experience. It was like traveling back in time in a comfy theater seat, with popcorn fuel and soda pop dreams. Her tears for Rick and Laszlo were as big as me! I seriously almost cried when she asked Sam to play "As Time Goes By."

I also clapped and sang along to "Knock on Wood." LOL. I think they should tour with this film and we should make it like the Rocky Horror Picture Show-- everyone participate and dress up... but don't dress like a Nazi. That wouldn't be tasteful.

Well I'm tired- so I can't report much more, except that everyone should see an Ingrid Bergman film or a classic film on the big screen before they die. It's pure bliss.

Here are some pictures from today and tomorrow I think I will be wearing my floppy brown hat and my blue and gold dress.* If you are at the festival, please say hello-- or send an email to ingridbergmanfilms@gmail.com and let me know if you're going to a screening. It would be great to have some pictures with readers and to meet you!

Marquee at Mann's Chinese 6.

PURE HOLLYWOOD. LOL

Alex and Me (he's a brilliant filmmaker who is in my class at USC SCA)

(Me next to the Casablanca image on the map at Mann's Chinese 6 Theater)

(This is the red carpet we couldn't get to because our passes are just "Classic" lol)

Oh - PS - Peter Bogdanovich introduced Monkey Business and Ben Mankiewicz introducedCasablanca- both were hilarious and know their stuff. Entertaining and informative! :)

*Change of plans with the clothing... but I'll definitely have my floppy hat. I'll probably tweet what I'm wearing and which screening I'm at, if anyone is there.

Looney Tunes: "Carrotblanca"

Someone on Tumblr.com posted a picture of Looney Tune's "Carrotblanca," so I had to find it on youtube.com

Amazing. Hilarious. Stunningly accurate. All of the jokes are right on target. The quotes are just close enough to be funny and it's Looney Tunes...who can refuse?!

I hope you enjoy this short blissful parody as much as I have. I hope to write soon. Just let me finish some homework and I'll try and get to it! :)

61 followers! Yey!

PS if you want more Ingrid consistantly, please follow my tumblr.com account or follow me on twitter... also-- comments make everyone happy! :)

Casablanca: A History

On December 8, 1941, the day after the Japanese bombed Pearl Harbor, the play, Everybody Goes to Rick's, was purchased by Warner Bros. Producer Hal Wallis for (USD) $20,000. This was the most money ever spent on an un-produced play and would start on of the most perfectly timed cinematic events in film history.

The original story was discovered by Irene Lee, the story department head who felt like it had potential.

There is always talk about the way Casablanca was written, I'll try and bring forth what seems to be the way it ended up the way it did.

The title was changed from Everybody Goes to Rick's to Casablanca because it was catchy and relevant. People at the time would have seen the word "Casablanca" in the news and were mostly aware of where it is.

The original story break down was: "The heroine in the play was Lois, a wanton American and classic femme noire. Her earlier affair with Rick in Paris had broken up his marriage, and as the story opens she arrives in Casablanca as the mistress, not the wife, of Resistance leader Victor Laszlo." (The Genius of the System, 315)

Aeneas Mackenzie and Wally Kline worked on a treatment in January of 1942, but their rendition was changed because Wallis was unhappy with the Lois character. Wallis took the two writers off the film in February 1942 and hired Casey Robinson who was a notable melodrama writer. During this month, the Epstein twins (Philip and Julius) were officially hired for the job. It was also at this time that Louis Renault (Claude Rains' character) was reworked to be an ally of Rick's at certain points of the story.

Robinson received no formal recognition for his writing because he refused to share billing. He therefore was left out of the credits and eventually out of the Oscar run.

Robinson is who we can credit with changing Lois into Ilsa, the innocent European played by Ingrid Bergman.

Thanks to the trade of Warner Bros.' Olivia de Havilland for David O. Selznick's Ingrid Bergman, Ingrid was cast on April 24, 1942. Selznick, who thought it was good for Ingrid's image to be in a pro-United States, war-time film (due to "possibility of Sweden's alliance with Germany and Italy" [Notorious: the Ingrid Bergman Story, 122]) traded Ingrid for $125,000 of which she received her standard salary of $3500. (122) Humphrey Bogart also didn't profit much out of his starring in the film, only earning his Warner Bros.' allotted salary of $2,750.

Ingrid wrote her friend Ruth Roberts on the subject of being cast for Casablanca, "The picture is called Casablanca and I really don't know what it's all about." (122)

Ingrid joined the production (physically in Hollywood) on May 2, 1942.

Now, watch this video for Ingrid's take on how the script was done and how confused she was- then we can continue with the myths and different casting things that went on during the pre-through-post production times:

Though Ingrid felt like the writing was confusing as well as the direction, it wasn't uncommon in those times, as well as on some sets today, to have a lot of things changed or not finished. Though this movie was unique in the fact that they didn't know what ending they were going to use until they shot the version we see today. There were a lot of rewrites and a lot of undecided factors- including who Ilsa would follow in the end. Some books suggest that her performance was enhanced by the fact that just like her character, she was in an internal turmoil between the men.

The collaboration was that of an open one. Everyone contributed ideas. Some of the more famous lines like "Here's looking at you kid." were actually brought to the film or the writer's attention by Humphrey Bogart.

Back to the historical significance and wonderful timing:

• The movie's initiation was the day after "Pearl Harbor Day (Dec. 7, 1942)"
• The film was named for it's geographical location, much like the Hedy Lemar/Charles Boyer film Algiers which audiences would have related to the times and settings they already were familiar with (thanks to the news and reels).
• The film went into general release (January 1943) just as the Allies opened a summit conference in Casablanca. Adding to curiosity, relevance, ticket sales and popularity.
• Was seen as the first film to show "America's commitment to the war" (The Genius of the System, 317).
• In April of 1942 Howard Koch (one of the credited writers) was told to increase talk of Rick's political standings as well as occupation in Casablanca in the script. This was all at a time when it was a part of France but was infiltrated by all types of people (as seen in the film).
• Hal Wallis was going to make many retakes and shoot more scenes but was halted by various events including, not being able to reshoot with Ingrid who had cut her hair for For Whom The Bell Tolls and because when they were about to reshoot, the Allies landed in Casablanca for the North African campaign.
• This story was one of the first, if not the first, to re-write United States melodrama towards benefitting the war. The leads were to give up certain understood notions like ending up together, being only with one another and selfishly disregarding others for sacrificing self for the greater good (i.e. Ilsa goes off with Laszlo and Rick stays to fight for the country he initially couldn't care less about).

The film was released on November 26, 1942- which was a pushed premier date because it was another timing issue. They felt it would be better off considering the Allies were doing well and everyone was getting involved. Plus no one knew what could happen next...

Just a couple of other tid-bits:

• As Time Goes By was almost cut from the movie completely. They found that they'd have to reshoot all the scenes with it, including major bar scenes and scenes with Ingrid, so they left it in. It was an unexpected, now iconic, hit.
• Both in November of '42 and January '43 Casablanca was a hit. Ingrid never understood this until she saw the film later in life. She was admittedly focused on her next film.
• "Even when spoken by supporting actors, the dialog is filled with innuendoes, ambiguities and ironies. In fact, many of the men and women playing waiters, refugees or nameless customers were Europeans who had emigrated to Hollywood to escape Nazism. Neverously hopeful, coldly indifferent or patient and resigned the presence of minor characrters intensifies the oppressive atmosphere of the film"-Reclams Filmklassiker (100 Greatest Films of All Time, 210)
• Paul Henreid was not sure he wanted to play the 2nd man in this film because he was concerned about typecasting as well as playing second fiddle to the stars and not being remembered.
• On their relationship, Ingrid stated about Bogie that "I kissed Bogie, but I never got to know him." (Ingrid, 82)
• The line at the end of the film "Louis, I think this is the beginning of a beautiful friendship" was added in post production and was written by Hal Wallis. It is ranked #20 on the AFI's Top 100 Movie Quotes.

Casablanca. 1942. 102 Minutes. B&W. Drama.

OSCARS: Best Picture (Hal B. Wallis), Best Director (Michael Curtiz), Best Screenplay (Julius J. Epstein, Phillip G. Epstein and Howard Koch).

Attempting Casablanca--Oh Good Grief!

Due to Casablanca's overwhelming success over the past 67 years, I have to respect this and do my research accordingly.

I have tons of resources to help me out. I plan on giving you facts, quotes, historical data as well as background on the movie then doing a play-by-play of the film itself. The p.b.p. may be mixes of opinion, comments, sarcasm, film commentary, definition of what's going on as well as anything else I can conjure up. Hopefully everyone's cool with that. If you have disagreements, that's fine, I expect it. It's the #2 film of all time (AFI Top 100 Movies) so I expect everyone to have seen it as well as have opinions about the film.

Now I must get to my research, but I will leave you with this to get all engines revving!

Casablanca Parodies

I have realized that the posts I've made today have all revolved around Casablanca. This is assuming everyone has seen it since you're here @ Ingrid Bergman Life and Films.

I want to now point you in the direction of Casablanca parodies that I have found on the internet. Feel free to point me in the direction of any other ones you know about, please! :)

These are all pretty ridiculous, but I think they're funny and related to the theme of the day. Lol.

Enjoy, lightheartedly.

Casablanca-- Bunny style

Check out this 30 second rendition of Casablanca played by cartoon bunnies!

Casablanca 30 Second Bunnies

Notorious: Part 3

A quick note before we begin-- I am elated that people have begun to really comment and think with my blog! The commentary is great as well as the statements and questions! Please continue to do so! If you haven't, feel free to join in! The more the merrier!



I continue with the Notorious play by play entry. If you're tuning your DVD to the right spot, we've just met Alexander Sebastian. We are at the restaurant and Alicia is getting her date on with some Nazis. Let the conflict/story ensue!

• Claude Rains was significantly shorter than Ingrid Bergman. They had to use a lot of tricks to make him seem taller and for her stature to seem smaller. In visual context, we naturally associate someone above someone else as a hierarchy so in order for him to be a powerful male, she must be submissive and most often shorter or lower than the male. There is a lot of bending, sitting, shifting to make it all work. Also--at one point, an angled plank was put near the stairs so he could look taller in a medium shot.
• We are at the restaurant--Edith Head's costuming for Ingrid is gorgeous. I love the sparkly head dress.
• 
• Alex and Alicia do a lot of small talk and flattery to avoid the past as well as potential cracks in their weak relationship.
• Alex notices the American agent that Alicia looks at. She finds out what he knows about the agents and how cognizant he is of her job presence in Rio.
  
• "I'm allergic to American agents" -- this is a double meaning. She is coating her facade for her mission as well as letting us know she is still angry with Devlin.
• Notice how her demeanor has changed since leaving Devlin last. She was content on the horse, thinking that she could stay by his side. Now she most closely resembles the woman we first came to know in Miami. This is a great rejuvenation of character.
• Her reaction to her father is always slightly emotional, even though she tries to deny and resist the feelings.
  
• Alex falls right into her arms.
  Easy target. Lol.
• Notice his lust is much more forward than Devlin's.
  
• He has noticed Devlin right away, this will be a reoccurring theme.
• "You made a pretty couple" --he's right. Damn right.
• She is quick to get a second date-- she is being brought to his house to meet his mother--and his Nazis. Lol.
• In this next scene take note of the note left to Alicia from Alex. He has crossed out his formal name and handwritten "Alex." This shows affection and quick lust. Devlin's reaction as well as Captain Prescot's are important. Devlin sees the note and is upset by it, Prescot sees Devlin's reaction and is slightly intrigued. There isn't any time to go further than that at this point because Alicia interrupts the moment by entering the room in a beautiful white costume.
  
• White is symbolic here of a renewed virginity that she must pretend to have. She has to seem as naive and innocent as possible during this first meeting.
• Ingrid is lovely in this scene. It is smart for Prescot to put on her necklace because she and Devlin are still having a silent argument.
• 
• She looks for Dev's approval.
  
• Joseph is a slightly dark butler, a lurch of sorts, but he also is a soft character who gives out information when needed. I like Joseph. Lol.
• The house is very gothic, much like the type of character Ingrid plays.
• Enter Madame Konstantin, character= Madame Anna Sebastian-- Alex's mother.
• After a close up on Ingrid, Hitchcock holds a longshot of Madame Konstantin coming down the stairs. She walks from a wide, long shot to a close up that is hauntingly intimate.
  
• There is an inescapable tension between Madame Sebastian and Alicia-- Truth is brought forth about the trials and they don't trust each other. Classic Hitch.
• Alex inturrupts just in time-- they are very regemented.
• Notice that Claude Rains and Ingrid never stand next to each other for very long in wider shots.
• Take note of the various faces you see when the Germans are introducing themselves. These characters fall into a sterotyped stock character realm. Emil Hupka, the man who freaks out about the wine, has a fatter, kinder face than the rest, who all have thin, angular and scarred faces.
• Doctor Anderson seems to have a certain compassion about him too, though it isn't as innocent.
• Hupka's geeking out helps Alicia to notice the wine bottles. This is a part of the MacGuffin for the story, but important to maintaining the plot.
• 
• Speaking of the MacGuffin here-- it's the Uranium you'll see later. This Uranium caused major problems for David O. Selznik who had to fight to keep it in the script. He had to say that it was pure "science-fiction." 6 weeks after it's completion, Uranium was found to be a part of the bombs used in WWII, luckily Notorious was done and ready to be a film.
• There are a lot of jabbs at sentimentality--almost claiming that the Germans here have none.
• The men's sphere is maintained by cigars and brandy after dinner--along with plotting Emil Hupka's fate.
• The German's attitude towards emotions are exaggerated so we don't feel any sympathy towards their cause. It is blatent but successful.
• AT THE RACES! One of my favorite parts...at this point it's probably pointless to say that.
• Alex's mother never addresses Alicia by her first name, never welcoming her into their circle. Alex is blinded by his admiration for her for so long, not realizing that his mother actually is right all along.
  
• Madame Sebastian is a great comic relief as well.
• 
• All of the dialogue between Devlin and Alicia at this point is great. They are incredibly passive aggressive and finally put their feelings out again.
  
• I love how Cary and Ingrid talk through their teeth during this scene. They do a great job of disguising the discussion.
  
• She thinks she slams him with the "You can add Sebastian to my list of playmates" but because she is no longer the same girl she was in Miami-- it doesn't work well on the man she actually loves. He throws it back at her and emotions start to arise.
• Devlin is obviously upset by this remark--both characters do a lot of switching and crumbling during this scene.
  
• The binoculars are a great detail to remind us that we're still at the races.
• "That's what you wanted wasn't it?" "Skip it." --These lines begin the fight they've been longing to have.
• Back to small talk.
• "Some kind of love test" -- seriously all of the language in this scene is remarkable-- I can't even keep up!
• Best line of the scene Devlin: "Dry your eyes, baby, it's out of character."
• Notice her disappointment when he says "Snap out of it. Here comes dream boat."
• Alex is keeping tabs on Alicia and Devlin--the weak relationship continues to crack.
• Creeper: "I watched you. I thought, maybe you're in love with him." (it's SO obvious now!! YEY!)
• Sebastian takes things to the next level by trapping her into convincing him that she isn't in love with Devlin. This starts to close the doors for her escaping the relationship as well as really putting pressure on the mission-- also-- the mission would be successful if she commits this deeply. Choices, choices.
• You'd think Alex would know that basing a marriage off of jealousy and proving something isn't a good start.
• "Our little theatrical plan is working" --just in case you forgot! haha.
• During this scene at the C.I.A. office- notice how Hitch doesn't take the camera off Ingrid and Cary. He said he did this becasue though you would think to look back and forth during a converstaion, all we need to see is their reaction to the objective. They are who we want to see together and watching them suffer is part of the conflict (and the director's passion). This moment is incredibly well done, both the performance and the way it is captured.
• Devlin finally defends Alicia a bit. Slamming Mr. Hensley with a "your wife" comment. WOOT! yey smart asses!
• I love Alicia's hats--all of them.
• Sebastian's urgency for marriage should be something to be suspicious about.
• Devlin feels it's useful and he is really just trying to get under her skin.
• WATCH THEM... keep an eye on them...
• "It's a perfect marriage--for us"
• They are sad and mad at each other. If they would just express feelings this movie would end right here...but luckily--there's more! :)
• Devlin's closing the door almost crushes Alicia. You can see it in her reaction to his leaving.
• Madame Sebastian is the true ruler of the Sebastian household, though Alex boyishly tries to rule. She sits on almost a throne, sewing and not really paying attention to the drama. She is consistant and un-altering.
  
• Alex blames jealousy--uh huh.
• One week later----->
• There's Joseph, looking spiffy! "Hello, Joseph."
• Alicia has a TON of stuff! where to put it?
• Let's do a sequence of closets!
  
• UNICA
• Hupka is mentioned one last time. Alicia has to walk directly into the lion's den. Success has been found amongst the Nazi's... this helps to drive the plot.
  
• Alex and Madame have an argument behind closed doors--she has to relinquish her duties to Alicia and is NOT happy about it.
• Closets! I'm so jealous.
• Wine Cellar eh? UNICA
• Again-- the positioning of Devlin and Alicia's sitting is important. Her posture continues to change as does her residency in the spot. This is their haven, and place to be alone.
• 
• Did you see that kid run by? lol. Just noticed this time!
• Look at the longing in Alicia's face.
• The "Shin dig" is about to happen! Devlin's invited... oh wait-- the honeymoon isn't over.
  
• Alicia has to sacrifice her body in so many ways for this mission.
• Devlin gets to fly freely around while she is trapped in the home (sexual politics anyone? Female Gothic)
• THE UNICA KEY!-- Quick story. This key has a story. PAUSE YOUR DVD! I will let Ingrid tell it...
• 
  

Ingrid was very sick, but sucked it up to host this event for her good friend Alfred Hitchcock.

• 
• Em brought up a good point about Ingrid's hair in a comment: I'd like to know who styled Ingrid's hair, especially for that horrendously peculiar "devil horns" updo she was wearing at the party (sorry for mentioning the party even before you've analyzed the scene but that comment about Edith Head reminded me of it). --The answer is the makeup department which was lead by Mel Berns
• I love the suspense created by the stealing of the key. You know she could be caught at any time. He grabs her hands and the key IS RIGHT THERE!!! But she's smart and grabs him--goes in for the real thing-- drops the key and conceals it.
• One of the most famous shots in film history-- Long shot of the ball room that zooms into an extreme closeup of the key in Ingrid's hand! Hitch created a lift to take his camera, a focus man and himself up to the highest point in the "room" and then created this work of art. I bow at the alter of Alfred Hitchcock's brain.
• 
• 
• I want that dress!
  
• Devlin is fashionably late, making Alicia nervous and then a little too happy--noticeable by Alex.
• He watches the two during the whole party. "His nips is on the trail"
• 
• They're talking through their teeth again-- the best is when they're drinking champagne.
• Devlin has more attention to detail--totally in his character to notice small details. Alicia overlooks the possibility of needing more alcohol for the party. He notices. This makes the tension even greater because we're never sure if it will run out or not. Plus Hitchcock drops in for a glass--one more down the hatch!
• Did you see Hitch? GULP!
• 
• Look how handsome Cary Grant is! They're such a pretty couple!
  
• Joseph! He's so funny!
• I like how Alex is so boyish. He waves like a child and grows green with envy at the drop of a hat.
  
• Fake laughing-- great cover!
• 
• Hitchcock has stated in many interviews that he purposefully shows the audience what he wants them to see. He doesn't want a whole lot of interpretation on the major elements because he is telling a certain story. This doesn't leave much room for error. I feel like in Notorious he does it so well that there isn't anywhere to go, except Hitch's path.
• I would love to know what the French conversation is in that scene--anyone speak French?
• SUSPENSE TIME!
  
• Devlin is experienced and calm but he neglects to pay attention to his surroundings. Alicia is too aware of her surroundings but is anything but calm.
• Notice the dates on the bottles
• This is the "MacGuffin" the Uranium Ore.
• "Janitors are never terrified"
• 
• Hey Joseph! out of booze?
• Devlin is on his toes and crafty!
• Oh no! Here's they come? What to do?
• MAKE OUT TIME! TIME TO LET OUT ALL REAL EMOTIONS-- NO GOING BACK!
• I think if there wasn't huge censorship during this time, they would have been sexing it up big time in that doorway... too hot for 1946 though (j/k)
• Alex's jealousy brings out a more mannish side to him. He also realizes his mother's truth.
• Speak of the devil, Madame came to the party!
  
• Party's over as far as Alex is concerned. He just realized the key is missing. He's been betrayed, time for revenge.
• Time for a little hard alcohol-- liquid assets-- a huge theme in this film.
• This is the plank scene-- the close up allows for the plank's use.
• Her ascent upstairs and the return of the Key-- the bulid up to the climax is starting to get steeper.
  
• Sleepless night for Alex--in his twin bed.
  
• He retraces the events of the night, only to find that the bottles have been messed with and the key is returned.
  
• Look at the dates--someone's been fiddling with the wine!
• 
• Madame Konstantin steals this scene--she is SO creepy and calm. She is also very masculine--she is all knowing and smokes like a man.
• Alex says "No, I am married to an American agent" --This is not only a problem for Alicia, because he knows, it is also a problem for him. If it is found out that he is involved with an American agent, his life is at stake because the other Germans will exterminate him instead of dealing with someone who could potentially give away their plans and secrets. Madam Sebastian is also aware of the ties, and that she is now involved. She likes being involved in his life, but realizes the danger, she has a solution: poison.

This is where I am going to stop this entry. Please feel free to comment and let me know if you saw any motifs or details that you'd like to know more about or just noticed that I didn't address.
Also--opinions and comments are always welcomed!

Notorious: Part 2

WARNING: This blog is best read while viewing the film. If you don't own the film, netflix it. If you don't have netflix, get in your car and either buy it or go to a rental place. Also-- look here-- amazon!

This entry begins a series of notes about the film Notorious. If you haven't seen the film, these probably won't make too much sense until you do. When you do, they will enhance the film and hopefully help to open up a new realm of film observation for your life.

This may be slightly tedious, so I will probably do it in bullet points. After I am finished talking about the entire film...at the end of the series... I will write a further review. Please feel free to let me know any of your favorite parts, any critiques, anything you feel I really overlooked, and/or just what you think! I really want everyone to be involved in this as much as they want to! :)

Okay-- Let's get started!

• Though Alfred Hitchcock was himself notorious for taking all the credit for films, he did work with the great screenwriter, Ben Hecht, to create the script and plot for Notorious.
• All of Ingrid's gowns for the film were designed by Edith Head-- she worked on many of Hitch's films as well as with Ingrid many times. Edith Head was the best in the biz.
• The opening credits include a slide that tells you the exact time and date of the setting. This is crucial to the plot as well as the historical setting because the audience has to be aware of the "post WWII atmosphere" in which the characters are living. "Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six..."
• The courtroom shot is framed to give the audience a first person POV (point of view) so that we really get to make up our minds to where the story will go, even though Hitchcock has already determined that.
• We have to know that "here she comes" is important because she is the daughter of the man on trial, a Nazi "German worker" (The word "Nazi" is never acutally used in this movie).
  
• At her house, there is a cop outside, they all know it. Alicia Huberman is her name and partying is her game. She and her friends like to party.
• She starts to adress the "party crasher" who is a sillouhette of Cary Grant. Alicia is hospitable but obviously a woman of loose morals. Her friends want her to get out and get away from the constraints of the law.
• She determines the relationship before we even get to meet Grant as T.R. Devlin.
• Oh, now things get interesting. There's one more drink left, they're all smashed. Ingrid Bergman is fantastic while playing a drunk. "There's nothing like a love song to give you a good laugh"She says. "That's right." He says. She is loosely drunk while Grant plays a more stiff drunk. He doesn't live outside the lines.
  All of the dialogue in this scene should be paid close attention to because it is all forshadowing the relationship as well as humourous and witty.
• "How about we have a picnic?"
• Watch where Cary Grant puts the glass after Ingrid Bergman hands it to him. That's not a table.
• Take note of what Ingrid is wearing, the zebra print is NOT a mistake, her hair is that way for a reason and she's baring her mid-drift.
• 
• "Alicia: My car is outside. Devlin: Naturally."
• When they walk outside, he offers her a coat. She says "you'll do." This is incredibly provocative as well as forward. This establishes the relationship even further, and we're not even 10 minutes into the film!
  
• He does take care of her, making sure she's not cold, by wrapping the scarf around her waste. Sexy, yes. Kind, of course. I <3>
• She never asks his name this entire night. She's not interested in the long term, only forgetting the past and living in the moment.
• Don't drink and drive kids, they're acting.
• Notice how the music isn't altering between characters, it's heavy romantic the entire time. I like that, it's different than others.
• The footage of the driving is RIDICULOUS.
• "Scared?" "No" "No- you're not scared of anything"
• "This fog gets me. "-- hilarious
• 
  
• All of the language in the car is well written and extremely funny.
• T.R. Devlin is a control freak. Notice his hand.
• The rear view mirror shot is well done and classic Hitch.
• "Whole family in jail, who cares?"
• Notice how Grant never reveals his name, even when he shows the cop his badge.
  
• The cop saluting Cary Grant is a way of showing the status of the character. He is obviously important to the story because he is with Alicia (Ingrid) all the time. He is her love interest. He has just been taken to a different level due to the respect of the law. He is now technically "above the law" as Alicia would be considered "below the law" because of her association with her father as well as her house being under servalliance.
  

If you are this far-- I just want you to know-- I will be bulletting until Alexander Sebastian shows up in the film. That is the point at which I will break for the next part.

• She inquires where the ticket is, he finally tells us his name; Devlin. "Why you double crossing buzzard" This kind of language should be used more often.
• The struggle in the car is fantastic acting on both parts.
• Best way to end a fight. Judo chop.
  
• The gender politics of this scene are intense. Due to her nature, Alicia wants to be independent, free willed, permiscuous, and in charge. Due to the time and the way that the gender roles (spheres) are constructed, if she oversteps her bounds as a woman, she has to be, naturally, put back in her place. Whether it is physically (which in this case it is), metaphorically, emotionally, morally, sexually (think Scarlett O'Hara), or any other means...by a man. In the 1940s men, especially in America and in Hollywood, were considered in charge. The story has to remained balanced and the setting neuteral for all to be right in the world. There are ups and downs within this film and this theme. Take note of anytime you think that a character is acting masculine or feminine: they're testing their gender boundaries.
• I love that even though he Judo chops the crap out of her, he still takes care of her, puts her to bed and also gives her a hangover cure.
• 
• Notice how her "rat" falls out and how disheveled Alicia is. This is one of Ingrid's finest scenes. Ingrid always wanted this to be as natural as possible and I think she really achieves it in this scene.
• The rotating angle of the camera, from Alicia's 1st person POV is Hitchcock at one of his best shots. Innovative, creative and brilliant.
• Another thing that I find really funny about the bedroom scene: There are two twin beds in the room. Now for one: Alicia is single, so why would she need two beds... I mean if her morals are already bent, why not just let her have one big bed to really show how slutty she is? And another point...why did they ever think that anyone would buy the idea of twin beds being acceptable?
• Devlin has Alicia at her weakest. He is smart, structured and knows what's best. He is a C.I.A. worker, a patriot and is going to format her into what he wants and needs (both romantically and for the job at hand).
• The language here is kind of "punny" thanks to the set up shot. "what's your angle?" "so you could frame me" I just think this is funny, if you don't, read anything Donald Spoto has written about Hitch and Ingrid Bergman.
• This is the scene that we find out about the job.
  
• Best line ever about "patriotism."
  
• IMPORTANT: The idea of making a film that questions patriotism, loyalties, American morals, morals in general as well as going after the "German war machine" in South America could have caused major problems for this production. The film wrapped just before they released that Uranium ore was used in the bombs dropped on Japan. International relations had to be carefully conducted at this time and the themes and plot of this story really tested those ideals. The idea of working with possible traitors and prostituting a woman for American gain would not be highly gratifying to the American ideals of the time. I find this a really bad ass way to hit movie goers with a 1-2 punch!
• She says she doesn't go for patriots...or does she!?
• He has the evidence, she doesn't want to hear it, again he is in control.
• We find that she is actually a patriot, just not into patriotism as a whole.
• While listening to the recording, Alicia gives us the first emotions and cracks in her tough act begin to form. He also softens while he sees her soften.
  
• She's still wearing the scarf. Lol. I love the walk of shame!
• The boat captain is great comic relief. We need this up and down in the plot. Keeps the tension alive.
• Alicia and Devlin are so obviously intrigued by one another. Classic sexual tension... I love it.
• 
• The airplane set up is a great branching effect. It allows for us to find out that her father has killed himself, part of the plan, who the boss is, and where they are going--more specifically. We also get the first signs of Devlin's serious attraction and Alicia's emotions. She is only soft when she opens up to Devlin, around anyone else, she can put on a front.
  
• This shot of her across his lap is a great juxtaposition. They sort of switch roles for a second. They are both interested in different things all at once. They are in two different worlds. She is paying attention to Rio, he is paying attention to her beauty. It is almost like a painting. They forget who they are, or seem to be, without any inhibitions. Crafty technique. Intellegently used timing.
• The way Devlin and Alicia are sitting at the cafe is something to which you definitely pay attention. Notice where they are sitting, how they are sitting and what they are doing. There is a transition towards the end of this "Part" which I will note later, when Alexander Sebastian comes onto the scene and the seating is a crucial, quick and somewhat of an overlooked transitional factor. It is one of my FAVORITE transitions in film, bar none.
• Alica states how she doesn't mind cleaning but hates to cook. Important characteristic that is reiterated later.
• The back drops are great, sound stage, fake, yet still so believable.
  
• The dialogue here is unbeatable.
• He says "yes ma'am" which indicates their relationship is farther along, she has more control. Also evident by her first refusal to drink. He calls her on it and they re-establish their roles.
• "No Dev, I'm making fun of myself. I'm pretending I'm a nice, unspoiled child whose heart is full of daisies and buttercups."--All time favorite line in this film.
• She taunts him when he asserts himself. They want to maintain their independence and their statuses. It becomes more and more of a fascade as the film and their relationship progresses.
• They have assertiveness but because they are falling in love, they depend on each other's opinion--which before--would have never mattered.
• She taunts him right into a smooch. WOOT!
• Man handled. Dev <3's>
• We meet the group of dudes who are the C.I.A. They are in charge of the mission and are a chorus of sorts. By "chorus" I am referring to the classic Greek style of a group of people who remind the audience of the correct/incorrect choices, the plot, the past, the future and what should/shouldn't happen. They are not completely a chorus because they dictate the mission as well. They are there to question the antics of the characters and to set up the conflict. There is a lot of passive agressiveness in this group of gentlemen which only heightens the conflict and swallows the feminine nature that could have thrived in the atmosphere, but is choked out instead. The sweet juxtaposition that arises here is, they are completely dependent on Alicia for the mission. She is a woman, but she is who they have to listen to and the carrier of all information, putting them all below her in stature, though it could never actually be addressed. Sexual politics again!

• They are a reassurance of the plot. They are also returning to how the characters were originally set up.

• 
• This is one of the most famous kissing scenes in film history. The production codes of the time required a 3 second maximum for a kiss. Hitchcock wanted this love scene to last longer so he worked out some loopholes and ended up with a 3 minute long kiss. The actors stayed as close as possible, kissing on an off, involving the audience and a phone. The scene was seductive, provocative and completely within code. When Hitchcock approached Ben Hecht with the idea, all Hecht had ot say about it was "what's all this talk about chickens?" Hitchcock had the vision and the love of food, but not the words. Those came later. :)
• Notice how Alicia decides to drop her hatred of cooking to satisfy her love interest. This is a huge step for a character like this. It shows commitment, selflessness and change. Her character is set up to not care about anyone but herself or what she wants, it's a bit early for her, so she'll be shut down, but it shows humanity in the character as well as potential for change--a nice dynamic.
• The actors felt that this kissing scene was incredibly awkward to shoot, but of course came out beautifully.
• "Alicia: This is a very strange love affair.
  Devlin: Why? Alicia: Maybe the fact that you don't love me....Devlin: "actions speak louder than words" SEXY! haha
• The mission is set during this scene and it is wildly interrupted.
• Take note of the champagne.
• They are too happy for words.
• Devlin is rudely reminded of the type of woman he is falling for, not ideal for a conservative type like him.
• Jealousy and champagne will give you away!
• We get word of Alexander Sebastian at this point... as well as the rondevous point.
• Champagne?
• The tone has again changed. He is about to shake up her newly established role as housewife and morally straightened young lady.
  
• Back to being a prostitute.
• The words in this scene are creative and poinent.
  
• "Right below the belt everytime."
• This conflict is simple lack of communication. This type of writing is overlooked sometimes because it seems so simple to fix, but due to human nature, it works and is totally believable.
• We now find out Sebastian's motives and what's happening in Rio. The mission is set and they're back to their original roles, also-- they're fighting. Lol.
• Mata Hari--sans papers.
• "Not a word for that little lovesick lady you left an hour ago?"
• "Alicia Huberman, the new Ms. Huberman"- admitting to the change, but they are both unwilling to let it happen and the plot as well as the characters are not ready for it either.
• She returns to the bottle --liquid is a notable theme in this film as well. It brings relief and poison to the plot.
• 
• When they go riding, it is a sign of status. It also shows how Devlin is in control of the situation and how Alicia would much rather stay by his side and play. Sebastian's curiousity wins as well as Devlin's duty.
• Alicia is thrown into the male sphere by men and must therefore be saved by a man.
  

OKAY-- Major transition of which everyone should be aware!! This is where the "1st act" would end in a play or where there is new conflict. ALSO: Remember how I said to note where they were sitting in the cafe? During this series of dissolves, the characters are sitting in their spots. There is a change. Cary Grant is sitting in his spot on the left in the cafe that Devlin and Alicia drank at in the beginning of their trip. Then there is a dissolve to a restaurant where Ingrid is sitting in her spot on the right. If you connect the two without the black out in between, it looks like they are sitting at the same table. Then when the dissolve is complete, Sebastian enters and takes Devlin's place. This is another switch in romance and stature. The deal has been sealed and now the characters must struggle to find new order.

This is where this post concludes...stay tuned for more of Notorious!