Tuyo es mi corazón

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

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.

Notorious is one of my favorite Hitchcock films. Like so many of his later features it is saddled with a highly suspect plot that is driven by a set of poor decisions made by a handful of characters of such alarmingly low emotional intelligence it is a miracle they survive the first half of the film at all, yet it works. It keeps company with the likes of Strangers On A Train, Psycho, Rear Window, The Thirty-Nine Steps, North by North-West, The Lady Vanishes: it is a classic. It is tempting to put it all down to Ingrid Bergman's portrayal of Alicia Hubberman - which is faultless - but Bergman alone could not have made Notorious what it is: she also starred in Spellbound and Under Capricorn and was unable to save either of those films from limping into mediocrity. It is also appealing to suggest the obvious: that it is the combination of breathtaking cinematography, flawless supporting cast and Ben Hecht's cracking script that make it so good. But I believe that the primary reason Notorious excels is because of the abiding friendship, professional respect and unrequited love that existed between Alfred Hitchcock and Ingrid Bergman as they stepped up to make the film. The archetypal > themes that comprised their professional partnership inspired, amongst other things, Hitchcock's/Hecht's Alicia - a woman in a barren marriage desperate for love - and all those tender beautifully lit close-ups. It also allowed Bergman - and here a precedent was broken - to contribute, and to act upon, her insights as to the motivations and behavior of her character.

Hitchcock didn't suffer the opinions of his actors lightly, yet

where Notorious was concerned, he made an exception. For the duration of the shooting of the film, Bergman was Hitchcock's closest collaborator. I have a strong sense that the very thing that could have made Notorious lame - Hitchcock's unrequited love for Bergman - is also the very thing that saved it from obscurity and that we may have much - we will never how much - for which to thank Bergman.

There are many moments that make Notorious Bergman's picture, but I think the most extraordinary is the kiss outside the wine cellar. In all her films, Bergman always brought a vulnerability to her love scenes that imbued them with a real sense of intimacy, and Notorious is no exception: think of her in the infamous balcony scene or during her final descent down the staircase. Yet when Dev - ever the mercenary genius of improvisation - makes full use of Rains' approach and, pulling Alicia to him as they stand outside the wine cellar, orders her to kiss him, Bergman actually surpasses her own track record.

Suddenly in the arms of the man she really loves she is overcome with emotion; and for one second, maybe two, she separates her mouth from his, and in an attempt to give voice to the indescribable and to forge, experience and register a moment of pure intimacy, she utters one word, his name, 'Dev!' and all hell breaks loose. Never in the history of cinema has one word carried such an erotic charge. They could not be closer. He doesn't flinch. They barely move, but it is all there. And it's not just her voice, it is also her eyebrows. Just as she utters his name, Bergman furrows them. They tremble. They, along with her tremulous whisper, betray her true feelings, so that within the space of two seconds we witness Bergman experience both the heightened rush of intense sexual desire as well as the instantaneous relief afforded her by the act of surrender to it.

All this with one word - 'Dev' - and the furrowing of a pair of eyebrows. So much emotion conveyed with so little and in such a brief period of time.

It is because of moments like these that Notorious is timeless - the film gets under your skin and into your psyche - and given the history of the film and her beautiful performance at the center of it, it is fitting that it should be Bergman

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.

Hitchcock introduces his stars with a cinematic blow that makes the opening of this dark, scrumptious thriller a monumental treat. He uses their star personalities and turns them round to dislocate us, teasing us with his unmistakable touch. The absurdity of the plot becomes totally plausible and the suspense is not merely unbearable but thrillingly entertaining. All of Hitchcock's favorite emotional and visual toys are present here. The icy blond, the sexual tension, the weakling villain with a castrating mother. A legendary kiss and a happy ending. Whenever I meet someone who hasn't seen any Hitchcock movies - and there are people in this world, believe it or not, who hasn't - I show them Notorious and always without fail, they are hooked forever. Just the way I was, I am and, I suspect, will always be. Cary Grant is allowed a dark unsmiling romantic hero and Ingrid Bergman lowers her strength to become a woman in love and in jeopardy but unwilling to appear as a victim. This gem of a film can be seen again and again without ever becoming tired or obvious. I'm sure you guessed it by now, this is one of my favorite films of all time.