Notorious (1946)

One of my fave classic movies

Stiff, boring, dated, and Bergman, that fat cunt, is cancelled around here for being an abusive mother and a whore. Also, she had a nazi background. Cancelled thru and thru

One of Hitchcock’s very best.

Do you need some attention, r2? Is that what you need?

R1 and R3 are obviously....you, OP, and I'm very glad that this htread will die in less than 10 posts. Keep worshipping your fat talentfree nazi whore...alone. You do you

R5 the middle of the Atlantic Ocean wants you

R3 here. Am not OP or R1 (whom I seem to have had blocked).

I watched a lot of noir a couple of years ago. Notorious was one of the very finest. It's aged wonderfully, I'd say

Sexy, adult. A great film and thriller. Beautifully filmed.

Moves quickly too, too quickly. Genuinely suspenseful

Bump

Let's discuss the superior Hitchock/Bergman film!

I could NOT get through this film. I love Hitchcock. Something about the setting and the plot does not appeal to me. I’ve tried watching it twice and never make it past the first half-hour.

Would have preferred Joan Fontaine as the lead.

I probably could’ve gotten through it if she had been cast instead, R13. Fontaine was the most beautiful woman of the 40s.

Ingrid, don't drink that coffee!

Great film title, beautifully filmed in black and white. Moves quickly. Sexy and romantic. Glamorous.

Sublime.

One of Hitchcock’s best. The look on Claude Rains face in the last scene, once he realizes he’s as good as dead, is priceless.

Dry your eyes, baby.

You're afraid you'll fall in love with me.

I love it.

A good case can be made that this is Hitchcock's best film. It's not only stylish and entertaining, it has substance. Grant and Bergman and Rains were never better - and the movie has a psychological depth and a tough and dark central relationship that I think is quite daring.

This is the only film I can think of that showcases the darkness and anger underneath Cary Grant's debonair façade. He's very compelling playing "a fat-headed guy full of pain," as he calls himself at the end of the film. I wish he had played more dark characters, but the Hollywood of those years didn't value versatility as much as typing. And it's very likely that he didn't want to expose those parts of himself, even in a character.

I agree with the poster above who says the first half-hour is kind of slow. And the Code made it difficult to communicate the premise: A whore, the Nazi-hating child of a Nazi, was being asked to whore herself out to a Nazi, in order to fight Nazis. Once the premise is out of the way, the film is superb.

The cinematography is outstanding, even in the illustrious company of other Golden Age Hitchcocks. The tracking shot down the grand staircase to the key in Bergman's hand is still studied today. A skillful piece of foreshadowing as well, since a trip down the same staircase is key to the ending as well. And this film has my favorite ending of any Hitchcock film, one of my favorite endings of all time.

Doesn't get much better than Hitchcock, Bergman, and Grant. The leads' reunion twelve years later (seemingly unchanged and still heartbreakingly beautiful) in the silly sex comedy Indiscreet would make a great double feature. Filmed in color, it'd be a study in contrasts, for sure.

"The film is rich with other elegant shots, the most famous beginning with the camera on a landing high above the entrance hall of Sebastian’s mansion in Rio. It ends, after one unbroken movement, with a closeup of a key in Alicia's nervously twisting hand. The key will open the wine cellar, where Devlin (posing as a guest) will join Alicia in trying to find Sebastian’s secret. One of the bottles contains not wine but a radioactive substance used in bombs. Of course, it could contain anything--maps, codes, diamonds--because it is a MacGuffin (Hitchcock's name for that plot element that everyone is concerned about, although it hardly matters what it is)."

Too much alcohol. I can't relate.

The Joan Fontaine fan in this thread saying she was the most beautiful star of the '40s and that she would've been better as Alicia.....good God no. And I like Fontaine.

I love that Cary Grant plays inscrutable ice cold in this for a change. And I love anything with Claude Rains.

DL don't like Ingrid Bergman , OP , she's rather reviled around here. Don't think your thread will be very successful

Y'all don't think she looks cute in the stripey blouse? For seriously now?

This was his daughter Pat's favorite of his films.

It is ultimately a movie about perverse relationships.

This film is often compared to Gilda with the same kind of love triangle.

One of my very favorite Hitchcock films, probably in the top 5. He certainly used black and white film to its advantage.

I'm mesmerized by the actress who played Claude Rains' mother, Madame Sebastian. Leopoldine Konstantin is a fierce name and one to be reckoned with. She was excellent, and high in the category of mothers who dominate their sons for ill intent. Miss Lansbury though takes the cake here.

I think this is one of Hitch's films that could very successfully be re-made today. Anyone care to play casting director?

There's nothing like a love song

The mother has one of the funniest lines.

Madame Sebastian: Wouldn't it be a little too much if we both grinned at her like idiots.