“Of all its qualities, the outstanding achievement is
perhaps that in Notorious you have at once a maximum of stylization and a
maximum of simplicity… “ Francois Truffaut interviewing Alfred Hitchcock
This sparkling new 4k restoration was one of the hits from
this year’s Cinema Ritrovato festival in Bologna and is being screened at
Bristol’s Cineredis before nationwide re-release starting at the BFI on 9th
August.
Hitchcock’s response confirmed Truffaut’s assertion and that
he was aiming to make an espionage story without the usual violence but with as
much insecurity and menace as possible. He also achieved this with baddies who
have depth, love and fear of their own: Claude Rains’ Alexander Sebastian loves
Ingrid Bergman’s Alicia Huberman every bit as much as Cary Grant’s Devlin and
yet, whilst Alicia reciprocates the latter’s feelings she is also not without
sympathy for Sebastian. We fall for the shocking intimacy between the double agent
and the spy as much as for the “goodie” and for a while there is doubt.
Ingrid talking to an unidentified man: it's a full two minutes before we see Cary's face |
This is one of the many things that continue to engage the
modern viewer in this a-typical and quite gripping post-war spy story. The
three leads are mesmerising with Bergman, inevitably, the centre of attention
radiating a vivid spectrum of emotion and yet always holding something back.
It’s in the tilt of her head as she nuzzles up against Cary Grant in one of
innumerable close ups from Ted Tetzlaff’s camera, that we search to find her
true meanings. Sometimes the screen is filled with a slow-motion waltz between
the two lovers as their heads touch or, famously, kiss for three minutes… which
may or may not have been the longest kiss in screen history or a virtual ménage
a trois as Hitchcock later suggested with his notoriously crude humour.
Notorious approaches the genre from the most acute of
angles from the start when Alicia sees her German father convicted of treason
by a US court; even this is witnessed form the point of view of a court
official looking through the courtroom doors as her father learns his fate.
We're all Peeping Toms for notoriety |
After avoiding the press outside court we’re back at
Alicia’s apartment for the drowning of sorrows
and the rare sight of watching
Ingrid Bergman getting drunk. There’s one man she doesn’t recognise and we don’t
either as only the back of his head is shown. Its only after the party has
broken up and the handover lands that we see the full face of Cary Grant’s FBI
agent. She takes him drunk driving and only finds out he's a cop when she's stopped by a traffic cop.
More great camerawork greats Alicia's massive hangover the following morning arguably one of the Director's finest portrayals of the pained disorientation of over-indulgence; Cary appears at an out-of-focus angle whilst Ingrid stares desperately at her orange juice, barely able to track the man as he crosses over her room to stand over her: we've all been there although not with these two in the room.
Under over hung |
Love and loyalty are soon to be sorely tested as Sebastian
truly falls for Alicia and, in order to obtain the information required, she
agrees to marry him… Devlin is in too deep to accept this dispassionately and
begins to distance himself from Alicia almost encouraging her to act the wife
more than the spy… human nature undermining objectives.
The rapport between Rains and Bergman is real enough and we
feel for the jilted agent until Alicia starts to spot the clues among Sebastian’s
friends even though pretty much the only one acting like an anti-American is
his beyond stern mother (Leopoldine Konstantin), who sees through Alicia and
everyone else with the x-ray eyes of demented conviction.
Three minutes of breaking the Code's three-second rule |
As Hitchcock plays with our heart strings – jealousy and
betrayal are so potent – there is the further tension of Alicia’s double and
possibly triple turn. The director builds new, awkward spaces between his two
main lovers who are so intertwined when sure of their love whilst slowly
applying the pressure of Alicia’s mission. The camera swoops down over a dinner
party at Sebastian’s to show her holding the keys to his mysterious cellar
among the Nazi’s surrounding her; one slip and she’s uncovered.
But those keys… the tension is almost unbearable as Alicia
and Devlin search the cellar for clues among the bottles as the bar man upstairs
gradually runs out of champagne: a trip downstairs is inevitable and, as usual
Hitchcock has us flying by the seat of his pants.
The film is so well timed and balanced and follows a
narrative full of threat but low on physical threat: there was so much fear in
1946 that it was simple a question of plugging in. Hitchcock’s choice of
nuclear plotting was, ever so slightly too close to the bone and he aroused suspicion
among the FBI…
Claude Rains comes between... |
I can understand how it became one of Truffaut’s favourites,
so well balanced throughout, lean and graceful just like its amazing stars.
And, with that 4k restoration, it is simply irresistible!
Notorious is back in cinemas UK-wide from 9 August at
BFI Southbank, Watershed Bristol, IFI Dublin, Filmhouse Edinburgh, Glasgow Film
Theatre, Tyneside Cinema, Belmont Aberdeen, HOME Manchester, Broadway
Nottingham, Arthouse Crouch End and selected cinemas UK-wide.
It will also be one of the highlights of BFI
Southbank’s two-month Cary Grant season that begins on 1 August. It all looks great so here's some more of that...
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