1946 was a great year in film if you like Alfred Hitchcock, Cary Grant, Ingrid Bergman and Claude Rains.This post was dedicated to TOM AT DIGITALSHORTBREAD who hosted a blogathon and called for submissions about one’s favorite film ending in the year six. Notorious is my favorite Hitchcock film for many reasons, and I am happy to share why.
A WWII Nazi war criminal is caught and imprisoned. His daughter is Else (Ingrid Bergman), a party-loving bad girl. She is persuaded to be a spy for the U.S. government who is trying to break up the boys from Brazil. She falls in love with her co-conspirator, Devlin, played by Cary Grant, whose occupation has trained him to distrust everyone, especially the seductive charms of women. He knocks her lights out after she drives recklessly drunk. After the famous kissing scene on the phone, he allows her to prostitute herself with wily, love-sick Sebastian, and then calls her a harlot and a drunk for much of the movie. Now that’s love, gals.
The plan is to infiltrate the opulent manor of Sebastian and his creepy mother and spy on their operations. The cellar holds the secret, and the key to the door is the small prop with grave consequences for Else. Will Devlin save her in the niche of time and redeem himself?
Hitchcock creates an exotic mood of the thriller by taking full advantage of his exterior settings like the Florida drunk-drive at night, the shots from the plane of the statue of Jesus Christ at the summit of Mount Corcovado, Rio de Janeiro, the bustling city, the race track, and the manor home by the sea. Whether in a crowd or on a terrace with the harbor as a backdrop, you want to be there. There exceptional uses of cinematography for 1946 that are clever and bolster Alfred Hitchcock’s reputation for suspense and an innovative director.