NOTORIOUS (1946) A Film Review by Ted Prigge Copyright 1997 Ted Prigge
Director: Alfred Hitchcock Writer: Ben Hecht Starring: Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Reinhold Schünzel, Alex Minotis, Ivan Triesault, Moroni Olsen
If "Rear Window" was brilliant because of how deep it was, and "Vertigo" was brilliant for how existential it was, "Notorious" is brilliant because of how simple it is. It's nothing more than an almost-typical Hichtcock plot, with lots of tension, espionnage, and attractive stars, but that's what's so amazing about it. It is one of the best examples of Hitchcock making a simple story into a gem.
"Notorious" came out around the time of Nazism, so it has a modern (for '46) feel to it, as the chief "villain" is none other than a Nazi in hiding. The story revolves around a love triangle which takes place during the wave of nazism, involving a secret agent, a notorious daughter of a recently deceased nazi, and a living nazi. With this, Hithcock tells a simple yet amazing tale, which shows off a lot of his camerawork, all while telling a story which never stops being interesting.
The story takes place following the death of a nazi, and then introduces us to his infamous daughter, Alicia Huberman (Ingrid Bergman), a promiscious drunkard of a woman. At a party, she meets a man named T.R. Devlin (Cary Grant), who turns out to be a secret agent, luring her to work for the government to expose a nazi hiding in Brazil: Alexander Sebastian (Claude Rain, rejoining Bergman to get that cool "Casablanca" feel to it). The two share a brief non-sexual affair (this is 40s cinema, after all), and eventually and reluctantly agrees to get the government closer to Alex by flirting with him.
Soon, Alicia and Alex are a hot item, all while Devlin is still lurking around, and sneaking around with Alicia. Despite the fact that Alicia and Alex are together, she still has a tiny thing for Devlin, and vice versa. What results is a fascinating and creepy film, resulting in one of the best endings to a Hitchcock film ever.
The strength of this film is really in the characterizations and writing. The relationship between Grant and Bergman is a touching one, and one that is always interesting. Because the writers have made these two out to have a rocky relationship, the two of them are never boring. And with chemistry between Grant and Bergman filling in some answers to unanswered questions in the script, the two work as a couple. And, of course, the two are both brilliant in their roles.
But the best achievement, character-wise, is that of Alex. Instead of him being a flat villain, he's more of a semi-villain. He has a heart and feelings...I mean, just because he's a nazi doesn't mean he's totally evil. He is a man who is trapped in a lifestyle which will ultimately destroy him: he's a notorious nazi, and seems to be equipped with a massive oedipus complex, as his mother (Leopoldine Konstantin) seems to rule his life, much like Norman's mother did in "Psycho." As played by Claude Rains, he's almost sympathetic at times. Rains gives the best performance of the film.
The film is also a show-off for the talents of Hitchcock. "The Master of Suspense" never has any action sequences or anything, but instead creates several moments of pure tension, and usually in the most bizarre places. One sequence which is notable (which we watched in film class once) is a party scene where Grant and Bergman have to get into the locked wine cellar of Rains's house to find some clues. With wonderful camera movement, tense parallel action, and some truly ingenius set-ups, it's a classic of American cinema.
Also standing out are a sequence where Bergman finds out that she's being poisoned by Alex and his mother (complete with some pre-60s psychedelic pioneering), and the ending, which is nothing short of flawless. The latter is perfect because it shows us how truly trapped Alex is in his life, and uses an ingenius idea and never throws that particular punch. The final shot is classic too; a creepy, grin-inducing finale which remains stuck in memory for eternity.
Many people claim that a film which is simplistic is not extraordinary. Not so. "Notorious" is proof that a director can tell a simple story, and still make a film which can stand the test of time. Sure, it's not "Psycho," "Strangers on a Train," or "North by Northwest," but it's still one of the director's best because it shows how truly great he was by showcasing him in unambiguous mode. I loved every second of it.
MY RATING (out of 4): ****
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