Today marks the 99th birthday for our beloved Ingrid Bergman! It also is the 32nd anniversary of her death. That's right, if this is your first time reading one of my birthday posts, fun fact: Ingrid Bergman died on her 67th birthday.
Ingrid's life was one filled with as much drama as the parts she played on the screen. Her mother died when she was 3, her father died when she was 12 and her aunt died in Ingrid's arms 6 months following. She worked hard for her dreams. She studied theater, piano and singing and acting was always her calling. She was a beauty who knew how to work the system.
The drama didn't end there. She had a baby when she was 23 and was married to a dentist who followed her to Hollywood when her career took off and made her a star. She had affairs with powerful men, including Victor Fleming (75 years ago... You know, the guy who directed "The Wizard of Oz" and "Gone with the Wind" in the same year), Robert Capa (the guy who took those famous WWII Normandy photos and later died because he stepped on a land mine) and later she would end her marriage with Peter Lindstrom by fleeing the states for Italy with Roberto Rossellini.
She was declared "Persona Non Grata" on the US Senate floor and wouldn't return to the States until after a decade.
Her work spoke for itself and for her. It lives on, thankfully, and though her full-circle time on this earth expired, her films immortalized those beautiful moments on screen.
Personally, I feel Ingrid Bergman has been a humanized star. She is someone I've watched time and again bring life to the screen and she has always inspired me to follow my ambitions and dreams.
Today, I celebrate the life and work of Ingrid Bergman, though I carry her in my head and heart everyday to utilize part of her path to guide my own.
The world made a better place thanks to Ingrid's work, especially the cinematic world.
This is the poster I wrote about before. It's an original print from 1946. Cary Grant looks like Frankenstein's Monster. LOL.
This is hanging in the lobby of my school along with posters from Psycho and other Hitchcock films. Then you walk the hallways and there are posters from every movie you can imagine- most are signed. It's pretty awe inspiring.
Joe Frank, a new reader, who has just complimented me by "stumbling" onto my blog and telling me that he likes what I do, wrote this about my Notorious Part 1 post.
"I just stumbled on your blog after searching for reviews on Notorious. I have often told people that Notorious is my favorite film. Usually, I get a blank look in response. Even people familiar with Hitchcock are often not familiar with the film.
I first saw Notorious a few days before Cary Grant died. I was stunned. Classic films aren't necessarily known for deep character development. My prior favorite Hitchcock films, North by Northwest and Rear Window, were driven mainly by story. Notorious is very different. The three main characters are very messed up people. You could spend hours discussing Alicia and Devlin. One question, why does Alicia fall in love with Devlin? Is it for the superficial reason that he is tall dark and handsome? After all, he treats her poorly through most of the film. As a man who has stuggled to understand women,I would like to hear a woman's persective."
Joe poses some fantastic questions, that I don't know have definite answers, but I'm willing to give my opinion based on my LOVE for this movie and my research that has followed the love trail.
I wouldn't go as far as saying "classic films aren't necessarily known for deep character development," personally I think that might be too broad. There are so many different types of classic film that they may or may not depend on character development. I would say a film like Citizen Kane, Gone With the Wind, A Letter to Three Wives, The Graduate, Dr. Jeckle and Mr. Hyde, The Wizard of Oz depend a lot on the characters. Actually I'd say that Notorious is extremely character driven based on some key elements.
Their location doesn't matter.
Their object doesn't matter (in fact the "Uranium Ore" is the MacGuffin).
Whether or not they are successful really has little to do with their lives.
What the two need is each other. They are polar opposites that are driven away by politics and scandal and driven toward each other by love, lust, affection, beliefs and loyalty.
In these films, what matters is the way the characters interact. In order to have the contrast between characters or the depth that we need to believe they're worth investing time and emotions we need some sort of development of character.
In order to know that Ingrid's Character, Alicia Hubermann is not just a Nazi-whore, we have to know several things:
She didn't like her father.
She didn't have the same beliefs as other Germans.
She wasn't actually a German but a German-American (which at this point in history would have been a HUGE deal).
How she feels about patriotism (My FAVORITE LINE: "waving the flag with one hand and picking pockets with the other").
She is actually quite loyal to her lovers (though she has had many we see that she is reformed by Dev).
All of these elements are almost the opposite of the straight, dark, rule-following T.R. Devlin.
His character isn't nearly as developed. I mean, we don't know what T.R. stands for (I like to think Teddy Roosevelt--it would just be great to have an environmentalist who's name became the "teddy bear" to be Dev's name).
I agree the Hitchcock films you have mentioned earlier were definitely story driven. I mean do we really care who Jimmy Stewart's character is? No. We want to know what the hell is going to happen when Grace Kelly goes into that apartment...EEK!
Though from an Ingrid Bergman fan point of view-- I care who those characters are because they are rumored to have been based on Ingrid and Robert Cappa... But that's a whole different can of worms. Lol.)
NOW I want to get to the juicy stuff-- why does Alicia looooovvveee Deviln?
I like to think Devlin is not as stiff and dark as his first impression lets on. He does little things, "actions not words" as he puts it, that show he loves Alicia. Forexample:
with,"we'recomingintoRio," he then checks her out BIG TIME when she looks out the window. He is obviously intrigued by her and who she is or might be. I find that incredibly attractive, I think Alicia unknowingly does too.
They romp around, they have a great dinner. Though he later forgets it, he does pick up the (liquid themed) champaign.
I think he is the post to her waving flag like personality. If we had two characters like Alicia, they'd bounce off of each other. They'd never fall in love, they'd be too busy competing for attention and fighting for their space. Devlin gives Alicia space. He dangles the steak from a stick, and she wants to know what else there is. It's a perfect match.
I think we should all re-watch the film. I mean I'm always game for that, but this time, pay attention to Devlin. Let it be his story for once. I don't know if you'll be convinced, but I have a good feeling, that you might see more this time to his softer side.
Thank you for sharing your comment, Joe. I hope this wasn't too harsh. I really love talking about Notorious and thouroughly enjoy picking it apart and discussing.
Everyone should feel free to do the same. I'd love to read your opinions about Devlin and Alicia's relationship and what you love about them.
OH WAIT! I forgot to tell you-- What I love about these two-- I totally relate to Ingrid's character in this film. I think more than any other film. I think Alicia is a tough cookie, she's a hard sell and wants things her way. She has extremely high standards and requires someone to love her despite her fallen attributes and lives up to her expectations. We all love Cary Grant (if you don't, you can leave now) so when he plays a hard-ass like Devlin, he challenges her persona. I love this. I hope someday to find that. Maybe he'll look like Cary Grant--maybe not.
The long overdue continuation of my play by play analysis of Notorious!
Get the DVD player warmed up-- we're at the scene when Sebastian wakes up Madame Sebastian to tell her the news of Alicia's undermining scheme.
If you're watching the 2008 re-release it's chapter 17 "Like an Idiot"
Note the clock striking 6 am--awfully early to be up after a party--dun dun dun!
Looks as if Sebastian hasn't slept at all--just thinking.
Alicia is sleeping like a baby. Probably helped by a quick meet up and make out session w/Dev and some champagne
Oh I just realized I'm re-stating these things-- well stick with me here-- Sebastian is now about to go tell his mommy.
I love how the same music reloops throughout the film. It's SO emotionally full.
The checker board floor in the foyer is not only stylish but an element of film noir. From distorted angles it appears as a web--any "spider ladies" around?
In the shot when Sebastian says "Mother..." he's watching her sleep-- then there are 3 versions of him. Sebastian the man is in a portrait photo, Sebastian the boy is in the seat and Sebastian the fooled is in the mirror--self reflecting--literally and figuratively.
Madame Sebastian is an all knowing character who has been ignored due to blind love and ambition. "I knew, I knew."
Extreme close up "I am married to an American agent" -- Hitch and most directors, when using an XCU are creating an element of claustrophobia and inescapable information. He wants us to feel like we too are stuck--or that we understand that Alex Sebastian is in a situation where there is no route out. Next time you watch a scary/gory/thriller movie--note when the XCU happens--you'll jump the next moment--or it will be a psych out!
Madame Sebastian is the creepiest lady EVER--well next to Gloria Swanson in Sunset Blvd.
She takes on a man's role here-- smoking a cigarette and knowing all--generally male sphere--she also has not time for emotion--time that Alex finds all the time.
He's betrayed his cause-- he knows his consequences
She calls the men stupid-- uh oh!
"No one must know who she is" "she will be on a leash, she will know nothing further"
"She will become ill, and remain ill for a time until--" in classic Hitchockian style-- we know exactly what the fate of the character will be-- now turning the fate on it's heels is the task-- Hitch wanted the audience to pay attention to what HE wanted them to see, hear and know-- so it's all very cut and dry as far as the plot is concerned--setting up the twists!
Oh drink that coffee-- that close up cup of coffee--right there
Too bad she was such a drunkard before-- they'd know right away if she hadn't had hangovers all the time, lol.
Uranium MacGuffin!
Change of contact?! WHAT?! To Spain!?
Devlin has such a broken heart--aww so does she. So she turns on the bitch switch-- I <3>
More coffee and off they go -- dizzy? look how Ingrid had to hunch over to walk next to Claude Rains.
Note how real the background is in the bench scene-- haha-- sweet studio drops!
Look how bitter and hurt she is--not to mention ill. :(
"No, nothing yet."
"Sick?" "NO, hangover."
I think it's hilarious that "it sort of lightens my chores" was an acceptable comment in this era. Like-- go ahead housewife-- do the Quaaludes, alcohol, sleeping pills or whatever-- just don't forget to iron my shirts. In the words of Isabella Rossellini's character on 30 Rock "The whole thing makes me want to vomit!"
You know there's a good chance Cary and Ingrid were both hungover for this scene-- the two were "notorious" for living it up with Hitch ;)
Not the scarf--that's your only piece of his stuff! Now you'll have nothing.
"What do you mean, goodbye?"
"Sit down you're still tight" -- can we start to use this term, "tight," again?! PLEASE!
Dr. Anderson is a great character-- he's humanized by his care of Alicia. He also reveals the issues at hand. wonderful!
Here is the tea cup shot-- Hitch used a cup 3x's the size of the original in order to have perfectly sharp focus on both Ingrid and the cup at the same time. They fight over the scene, the cup and Ingrid, of course-- Ingrid wins LOL
Cruise to Spain! haha--jump off and join Devlin-- nah-- not in the script. plus "I always get sea sick"
"Oh you're leaving? I'm sorry, I'll miss you." so monotone--creepy! She's so ill!!
Oh--cut off before telling where Dr. Anderson is going! --SUSPICIOUS!
Too bad Alicia is incredibly intelligent-- she noticed the coffee, the shut up and now the freak out.
OMG I love this distortion. The extreme back lighting-- check out that ring! Holy moly!
Even though she's dying-- she's still gorgeous-- Yes-- did you see that distortion-- and she's sweating-- AWESOME
like a fly caught in the web--see I told you the checker board look was important!
I wish the look of this movie would come back full force. Minus --Madame's hair.
In this scene where Madame Sebastian, Alicia and Alex are all in the shot-- it's almost like she's witnessing her own death. Very wake/coffin like and yet very beautifully shot. She knows there's no way out on her own from the bed room. It's like we're suffocating along with her.
Disconnect the telephone!?!!!
Uh-oh-- she's not there!
I love that Devlin just knows to come there---after two times. And Captain Prescot is so nonchalant.
His only warning is not to mess anything up, as he eats cheese and crackers.
Joseph!!
Cary Grant's so cute-- and always up to something.
Joseph is another know all character.
He acts like he doesn't know-- he's more of a giver of information
Ahh-- a meeting-- perfect timing on Dev's part!
They're feeling followed--they should!
Devlin's not waiting--F-that.
Up he goes- to find Alicia. Isn't it funny how a HUGE mansion has like 2 rooms?
She's SO happy to see him--even in dilirium-- she's still in love.
He's finally said "I love you!"
She's saved, he's saved. Alex is screwed and the Nazi's lose!
Hitch was such a romantic-- These are some intense love moments.
Of course they gave her pills to sleep--freaking bad guys!
She knows now that they killed Emile.
She's still spilling info--even when drugged and ill-- strong lady!
"You better tell them Sebastian."
Madame's totally trying to save their asses. Lol.
I love that they slam the lock on the car door but there's not really a window.
What's to prevent him from leaping onto Alicia's lap?
The last scene was a total fluke-- they didn't know how they wanted to finish the film.
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!
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!
After my last post, I was presented with a task: To reveal my review and opinion on my favorite movie Notorious.
Part of a comment I received, from Emily, was:
"Alexis: Have you ever written a review of Notorious, anywhere? I'd love to read your thoughts on it, as it's my favourite film!"
I know that on one of my blogs, I had discussed my love of Notorious, but I think it was on Seriously? and not here.
This 1946 Alfred Hitchcock masterpiece is my favorite piece of cinema ever created. The film truly won me over, for me to narrow this down, is a feat in itself. I love that someone mentioned it because not 4 minutes ago, I switched on the DVD player and sure enough, I'm watching the movie right now. Ingrid Bergman is WASTED and they're about to go for a drive. I love that she says "My car is outside." Then Cary Grant replies, "Naturally." Beautiful. I could probably pick this movie apart second by second. I could devote myself to every frame, every emotion, the actors, the writers, directors, footage, etc. So now I will take you on a ride, a joy ride through my love of Notorious. "I'm going to take it to 80 and wipe that grin off your face."
The first thing I would like to share with you is my paper I wrote for an application to Chapman University. The objective was to express why a certain film is your favorite film in 2 pages or less. I cheated and didn't double space, and tried to include whatever I could. This was probably the most difficult paper I have ever written. To try and make something that is 102 minutes and part of your heart, soul, and mind, and put it into two pages of 8.5"x11", not an easy task.
The second thing I would like to do would be to section off different parts of Notorious and really break them down. I'm going to analyze the movie... in the way that I was talking about in a previous paragraph. Maybe not moment by moment, but important moment by moment (we'll see how it goes and there's a chance you will learn every possible thought I have about each frame).
The 3rd thing, if I still have your attention, is I would LOVE to have everyone's input during these blogs. I want to know if you know different elements about Notorious, if you have a favorite part, if maybe a scene I mention brings feelings to your life, or whatever...if you totally hate it, tell me, I may stop, I may not... please, no curses (lets pretend the M.P.P.A.A. would be on you, like the would in 1946).
Hope you're still with me here... let's get started! :)
Here is the paper:
Alfred Hitchcock’s 1946 film, Notorious, is my favorite movie because it combines several elements that I admire. The film encompasses the essence of post-war era film, stars Ingrid Bergman and Cary Grant, director Alfred Hitchcock, and a clever resistance to the production codes of the time.
In Notorious, Ingrid Bergman plays the part of Alicia Huberman, a woman with loose morals who we first see as promiscuous, drunk, and cynical. Whether it is for her ravishing looks, outlandish partying, or deceitful father, Alicia is the center of attention. This character is a prime example of the female Gothic character (a victim as well as victimizing woman) found within post-war film noir. She is wronged by men (particularly her romantic partners in the movie, T.R. Devlin played by Cary Grant, and Alexander Sebastian, played by Claude Raines) and society (the United States C.I.A. as well as the Germans in Rio) but she also makes them her prey. Alicia is, as she puts it, “the Mata Hari— she makes love for the papers.” She is powerful when she uses her sexuality, street smarts, and looks, but she lives outside of her designated gender role, seeking power and freedom that is not rightfully hers (with in the guidelines of the time). She drinks too much, parties too hard, and yet Bergman portrays her with a sensitivity that makes her loveable and believable. She wants Devlin’s love as well as a normal life that is disassociated with her father’s Nazism and her less than perfect track record. This character is complex. She is funny, hard boiled, sensitive and has feminist qualities. Alicia Huberman is a main character, though not credited as such, without her, there is no conflict and no picture and as far as I am concerned, the same can be said about Ingrid Bergman. She is my favorite film character in perfected by my favorite actress.
Cary Grant depicts T.R. Devlin, a mysterious, handsome C.I.A. agent whose first name is never revealed. He brings a sense of humor to the picture that is not at all flighty; it is dark and sometimes shrewd. Devlin acts as the perfect juxtaposition to Alicia’s character. He is supposed to be a man of high morals, a government worker, who follows and uses the rules to their full potential. He is smart and uptight but a romantic when the mood calls for it. His character appears at first, in a film noir fashion, as a black silhouette. He does not reveal his name for quite a while and he is very quiet. I fall in love with this character every time I watch the film. He says most of my favorite lines, including “Dry your eyes baby, it’s out of character.” and when Alicia tells Devlin, “My car is outside,” he simply responds with “Naturally.” Devlin is statuesque in contrast to Alicia’s fluidity. He says so little yet says exactly what he means and exactly what she wants to hear. Devlin is Alicia’s “dream man” and though he (and the audience) has to wait to take her away from her old life, he ends up satisfying her dream of a life of “daisies and buttercups.”
Notorious finds a new genre of drama and humor for Cary Grant, outside of his classic screwball comedy films such as Bringing Up Baby, His Girl Friday, and Arsenic and Old Lace. Both Grant and Ingrid Bergman played characters that were contrary to their public images at the time. In 1946 Cary Grant was seen as a happy-go-lucky kind of guy and the life of every party. in her early career, Bergman was seen as “saint-like” (at the time) due to her previous work in The Bells of Saint Mary’s, Casablanca, and Spellbound. They brought a new authenticity to their acting abilities as well as to Notorious when they starred as Alicia Huberman and T.R. Devlin. Their acting in this film and willingness to break expectations are two of my favorite elements within this classic.
Hitchcock presents several shots which I especially admire. When Alicia is in bed nursing a nasty hangover there is a camera angle that throws off equilibrium with a rotating, first person point of view shot. It attains empathetic, claustrophobic, and nauseating feelings, provided by the character and for the audience. There is a shot on the plane, when Devlin says “…we’re coming into Rio.” Alicia leans over his lap to look out of the opposite side of the plane. He looks directly at her and we see him fall in love in that instant. The shot sets two characters in completely separate worlds: she is focused on the future that lies ahead and he is focused on her. This shot is quick, simple, and perfect. Many transitions in this film are achieved with quick dissolves and fades. My favorite transition of all time is found in this film. The two characters dine at a street café, sitting opposite one another. This is where they discuss love, hate, and all that lies in between. When the mission is set and their bond is put into jeopardy, Devlin is sitting in his chair sipping coffee and Alicia is absent from her chair. The shot then dissolves into a scene at a restaurant where Alicia is sitting on her side of the table, but in a different locale. For a split second, the dissolve looks like the two are sitting together, but as it clears, Alexander Sebastian takes Devlin’s place and the plot ensues. This message is loud and clear but can be missed at first glance. The attention to detail is beautiful. There is one series of shots (though I could go through all of them, if given the chance) that is worth noting. The first is a lengthy shot of Alicia and the tea cup that carries the poisoned coffee. Hitchcock wanted both the cup and Ingrid Bergman to be in sharp focus so he had props make a tea cup three times the size of the original. The tea cup takes on personification that cannot be ignored. The cup’s haunting, human-like presence creates a new suspense that is only enhanced further by what happens next. When Alicia realizes that she is being poisoned and that Alex and his mother know who she is, she becomes panicked and her vision blurs. Alex and his mother become disfigured silhouettes and the sound as well as the lighting becomes distorted. There is nowhere for Alicia or the audience to go and the psychological thriller is fully developed; there is only hope for a rescue. Hitchcock’s resourceful nature comes through in with my last favorite shot. He used a lift that would take his camera, a focus man, and himself to the top of Sebastian’s ballroom for a long shot of the party and would take him down for an extreme close up of Bergman’s hand clenching the wine cellar key. This shot, though elaborately staged, is essential to finding out the weight that this key has for the plot. The key is symbolic of relationships between Devlin and Alicia, the Allies and the Germans, Alex and Alicia as well as others. The ingenuity is amazing and the shot is beautifully accomplished.
Hitchcock’s cunning manipulation of the production code is something I consider very admirable. He found loopholes everywhere regarding morality codes and post-war sentiment, and most famously a kissing scene. The film writer, Ben Hecht, and he created lines that subtly questioned the pro-American ideals of the time such as: “No thank you. I don’t go for patriotism…waving the flag with one hand and picking pockets with the other. That’s your patriotism.” They cleverly created a movie completely about Nazism and international affairs without ever uttering the word “Nazi.” Also, they defied moral standards by working their way around the rules. The three-second kissing standard made by the Production Code Administration was contrived into a three-minute scene where Bergman and Grant nuzzled and cuddled with a kiss here and there. The kiss was awkward for the actors to shoot, but beautiful to watch. All of these elements combine for a cinematic masterpiece and my favorite film of all time.
An avid Ingrid Bergman fan, I am a student of her life and work as well as film, filmmaking and Classic Film in general.
I have my M.F.A. in TV/Film Production from USC School of Cinematic Arts and have been making a living in the business they call show.
Feel free to follow me on Twitter @alexis_morrell
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