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*Notorious* may not be Hitchcock's greatest film, but it may very well be his most perfect film. Rarely is a viewer treated to so much talent in all areas of film creation: Hitch directing, Gregg Toland photographing, Ben Hecht writing, Cary Grant and Ingrid Bergman and Claude Rains acting. And everyone is firing on all cylinders.

What gives *Notorious* its singularity amongst the pantheon of Hitchcock's masterpieces is the highly symbolic, literate, and penetrating script by Hecht. Nominally, the film is about the OSS (the pre-natal version of the CIA) using a compromised young daughter of a condemned, unrepentant Nazi to infiltrate a cell of German expatriates in Rio de Janeiro just after the close of the Second World War. The plot hinges on some nonsense involving "uranium ore" stuffed in wine bottles in the cellar of Claude Rains' mansion. In actuality, the film is nothing less than a dark fugue on alcoholism, and secondarily (and of most interest to the director), invasion of privacy. Thirdly, we are treated to some more of the Master's endless fascination with Freudian slop: yet again, we get the Oedipus Complex in all its ardor, with a domineering old bat wielding the motherly whip-hand on Rains' cuckolded, castrated, romantic ex-pat Nazi.

But Hecht is interested primarily in alcoholism, and Hitchcock obligingly complies, utilizing a dizzying myriad of symbols and reference points. In the original script, Bergman's Alicia is something of a whore: the filmmakers were forced by the censors to tone this aspect down, thereby bringing Alicia's dependence on booze to the forefront. Indeed, Bergman spends much of her screen-time woozy-headed, whether from alcohol or poisonous coffee (symbolically functioning as the same thing). Very early in the film, she declares at a party, "The important drinking hasn't started yet!" Exactly. Throughout the movie, Bergman drinks in order to escape her unpleasant circumstances or to wash away bouts of low self-esteem. A bottle of champagne bought by Grant becomes a phallic symbol: he forgets it at the offices of the OSS, with arid results when he arrives home to Bergman. Wine bottles are literally the "key" to the plot. Spilled wine in a sink blows her cover. And late in the proceedings, the simple physical act of drinking -- coffee, yes, but the point comes across -- almost kills her.

There's much more going on here -- too much for a short review, really. Let's finish by asserting that Hitchcock's Forties period was every bit as cinematic as his later, grander, colorized period in the Fifties and Sixties. The slowly swooping shot from the crane, starting from high atop the ceiling of a ballroom and ending up focused on the wine cellar key in Bergman's hand, is merely one famous bravura moment. There are many others:

Grant approaching a hungover Bergman in bed, in which the camera takes her up-ended POV quite literally; Bergman, overcome with poison, hallucinating the figures of Rains and his mother into monstrous shadows that grow larger and larger, eventually merging into one darkness; the two great tracking shots of Grant and Bergman kissing in her Rio apartment and later when Grant rescues her from her poison bed. The trailers for *Notorious* were already calling Hitchcock the "Master of Suspense" . . . it's easy to see why.

As for the performances? Cary Grant proves to be a true soldier, spending much of his screen-time either expressionless or with his back turned to the camera (!), unselfishly giving the film to Bergman, even though his part is actually the more interesting one. Bergman, meanwhile, gives one of the best performances of her illustrious career. No two Bergman roles are quite the same; Hitchcock wisely allows her to do some of her own interpretation, particularly early on during the "character-building" scenes (before the plot moves all the characters into their appointed places on the chessboard). Perhaps best of all, both Grant and Bergman were at the very peak of the physical charms: the movie is some serious eye-candy for both genders. 9 stars out of 10.

Dark, cruel, beautifully photographed, and deeply erotic, Notorious in one of Hitchcock's very best. It's remarkably sexual and sophisticated story from a time in Hollywood where the power of the Breen Office was at its apex. Alicia Huberman (Ingrid Bergman) is the daughter of a convicted Nazi. American agent Devlin (Cary Grant) contacts her and convinces her to spy against some of her father's Nazi colleagues in Brazil. The chief of these of Alex Sebastian (Claude Rains), one of the most genial Nazis depicted on the silver screen, who has a crush on Alicia. Of course, Alicia has fallen madly in love with Devlin, and he with her, though he could never admit it, and instead pushes her to seduce Sebastian to obtain his secrets. He wants her for the mission when she accept, he brands her a whore. Only a whore would sleep with a man for his secrets, right? Hitchcock gathers some of Hollywood's best and casts them against type. Ingrid Bergman, who hitherto had played a fair number of virginal ingénues, plays Alicia Huberman, a powerfully sensual woman but also a drunken nymphomaniac. You get the sense that she can merely stroke Devlin's cold, frozen face and bring him magically to life. The great comic-acrobat-sophisticate Cary Grant is cast as the emotionally stunted and almost sadistic T.R. Devlin, a mysterious secret agent who recruits Alicia to work for the government. Cary Grant utilizes his inherent reticence to create a character who is isolated and closed off, who can lash out and act disinterested so easily toward the woman he loves. Claude Rains, with his rich English voice and amiable face plays Nazi Alex Sebastian, a rather nice fellow who happens be plotting against the United States. He is genuinely in love with Alicia and when he learns of her betrayal, his despair and terror is palpable and moving. Madame Constantin, imported especially by Hitchcock from Germany for this film is the brilliant and icy cold Madame Sebastian, Alex's powerful mother. In one particular scene she smokes a cigarette with a malice unequaled by any actress in Hollywood history. It's like she has it clasped in her talons. Louis Calhern is Devlin's boss, breezy, narrow minded, and casually misogynistic.

Notorious is a very stylish production. Ingrid Bergman, who usually wore little makeup in her films, has a very natural sensuality and wears lovely 40s hats and suits very elegantly. Cary Grant is hitting his stride as the fashion icon he later became in the 50s. The suits are slimmer than they were in earlier roles and help emphasize Grant's lean and powerful, but graceful, physicality. Hitchcock's camera is characteristically authoritative, shaping the audience's impressions. It is very open to Bergman and very closed to Grant. Bergman is often shot in close ups and medium shots, and in flattering soft focus, and in accessible to the audience. Her heartrending luminosity, used so brilliantly in Casablanca is used again here by Hitchcock. Grant, on the other hand, is several times shot with his back to the camera, looking away from from the camera or with his face obscured by shadows. You suspect, but you never really KNOW what Devlin is feeling for the majority of the film. Grant is inscrutable and here is really demonstrating his economy --and brilliance-- as a performer. Sometimes he does seem a bit too stiff, especially since we know that he's capable of doing Dr. David Huxley and Editor-in-chief Walter Burns, but most actors wouldn't have dared to give such an understated performance as Grant does here.

The world of Notorious is very insular. Most of the film, with the exception of the love scenes, is indoors. Any other scenes that find the characters outdoors find the characters closed off. Barricaded between objects or people. All this gives the film a claustrophobic feel, like Devlin and Alicia have no place to hide and no place to breathe. People said that Hitchcock disliked actors. I don't think that's true, but Hitchcock seems to have extraordinary control over the technical aspects of filming. In order scenes to work actors must explicitly follow direction; they are the tools of film-making. All this attention to detail is absolutely necessary considering the complex composition of many of his scenes. The reputed "Longest kiss in film history" where Devlin and Alicia embrace and talk and kiss for several is a very intricate piece of blocking as the characters move from one room to another, Devlin speaks on the phone, reach, turn etc... If Hitchcock worked like someone like Howard Hawks, for instance, this sort of scene wouldn't be possible.

Since this is a Hitchcock film, people may be mislead into thinking that it's a thriller. It's not. It's really a perverse romance. The characters are more intricately drawn than they are in thrillers. Indeed, plot and character development seem to be equally important. The story does not move quickly but you don't really notice, you're too busy being immersed in Hitchcock's world. Thrilling, sexy, and moving, Notorious is highly recommended

In Alfred Hitchcock's 1946 film, `Notorious', Cary Grant plays T.R. Devlin, an American agent who employs the assistance of Alicia Huberman, (Ingrid Bergman) a German expatriate whose father has just been convicted as a German spy. Devlin brings Alicia to Brazil in hopes to arrange a meeting with Alex Sebastian (the fantastic Claude Rains); another German spy who just happens to have a history with Alicia insofar that he was in love with her. The plan is to get them together so that she can spy on Sebastian and his colleagues so that the Americans can get a leg up on their mutual espionage. Of course, love develops between Devlin and Alicia, which complicates their operation and of course, their lives.

`Notorious', despite adhering to the chaste Hayes Code of the time has some of the steamiest scenes between two actors that I can recall during that era. While the scenes never get beyond the standard close-ups of their kisses, the chemistry is a heavy physical presence. The acting in `Notorious' is top-notch; Grant and Bergman were at their best during this era. Claude Rains, who is a personal favorite of mine, is absolutely fabulous in this film. He gives his character, who should be hateful, a humanistic quality that makes him an even more complicated figure. Screenwriter Ben Hecht and Hitchcock team up for some pretty intense moments in `Notorious', and compliment each others styles and talents wonderfully. There are not many nail-biting moments in `Notorious', but the script is excellent. Coupled with the superior acting and direction, `Notorious' is certainly a Hitchcock film that should not be missed.

--Shelly

Notorious is absolutely one of Hitchcock's best films. The suspense sneaks up on you, and I found myself on the edge of my seat. Cary Grant is in love with Ingrid Bergman, (but who wouldn't be) caught in a triangle of love, deceit and lies. They both shine as the super stars they are in this meticulously filmed masterpiece. Hitchcock's hand is all over this film. And as is usual for the master, he never misses a beat, never puts in a sloppy scene, and sees it all in his mind's eye (and on paper) before committing it to film. This is why he is The Master of his craft. Bergman is at her lovely best, that sometimes smiling, sometimes pouty mouth, that cute nose, and those stupendously beautiful eyes. This film, which I've just seen for the first time (why, oh why, did I wait so long?) is up there, near the top, I have to see it again and again.

One of Hitchcock's most thrilling examinations of psychosexual ambiguity, with the Grant-Bergman relationship veering from an initial meet-cute to genuine (beautifully conveyed) mutual delight to sadistic manipulation - he makes a whore of her and forces the fact again and again into her face, seldom giving an inch until the very end, where his change of heart has a largely tacked on feeling. We first see him from behind, quietly, predatorily watching at one of her drunken parties; they go for a drive and we see his hand poised to grab the wheel even as he pretends to submit himself to her drunken control over the car - it sets the tone, for Grant never relents on his desire to possess her, and reacts all too like a spurned lover to events, belittling her love even as she continually reasserts it; the callousness with which he distances himself from her after learning of her assignment is breathtaking. The main plot can hardly match the complexity of the central relationship, even though it's an excellently constructed yarn, with the fine set pieces of the party and the ultimate escape, which is essentially a battle between Rains and Grant for possession of the weakened Bergman - a finale which emphasizes how she's always been a prisoner, of her father's myth, of the male system, of her own emotions.