2025 Blind Spot Series: Notorious

 

Directed by Alfred Hitchcock and written by Ben Hecht, Notorious is the story of a U.S. spy who asks the daughter of a German war criminal to seduce a Nazi industrialist hiding out in South America. The film is a post-World War II spy drama that explores a woman caught in a deadly triangle with large stakes involving the possible return of the Nazis. Starring Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Reinhold Schunzel, Moroni Olsen, Ivan Triesault, Alexis Minotis, Wally Brown, Sir Charles Mendl, Ricardo Costa, Eberhard Krumschmidt, and Fay Baker. Notorious is a mesmerizing and gripping film by Alfred Hitchcock.

Set in 1946, the film revolves around the daughter of a German war criminal who is asked by an American spy to travel to Rio de Janeiro to seduce a former Nazi industrialist who is conspiring to revive the Nazi party. It is a film that that explores a woman who is asked by a government agent to Brazil to uncover a Nazi conspiracy plot that featured one of her father’s former colleagues. Ben Hecht’s screenplay has a straightforward narrative, yet it is more about two people who are tasked in uncovering a plot that would threaten post-war peace as they also must contend with their feelings for one another. T.R. Devlin (Cary Grant) is a government agent for the U.S. who is tasked in recruiting Alicia Huberman (Ingrid Bergman) since her German father had been sent to prison for his Nazi activities by the U.S. government. Huberman is unwilling to help Devlin as she had her own issues with her father as she feels ruined by him though Devlin’s offer to get a second chance is something she could not refuse.

Upon arriving in Rio de Janeiro, Huberman learns her assignment is to infiltrate the home of one of her father’s former colleagues in Alex Sebastian (Claude Rains) while Devlin would learn that his superiors want her to seduce Sebastian. Huberman reluctantly agrees to seduce Sebastian as she would charm and woo him where she learns about what he is doing with a bunch of former Nazi officials. The one person who is suspicious about Huberman is Sebastian’s mother Madame Anna Sebastian (Leopoldine Konstantin) as she becomes troubled by her son’s infatuation with Huberman. Hecht’s script also plays into the sense of tension where Huberman realizes she is in the middle as she and Devlin try to maintain their own secrecy and professionalism but have become infatuated with one another.

Alfred Hitchcock’s direction is entrancing for the way he creates this sense of dread and tension set in largely Rio de Janeiro as well as playing into a lot of the romantic drama that occurs throughout the film. Shot on locations in Los Angeles, California including RKO Studios with rear-projection and second unit shots of locations such as Rio de Janeiro and Miami. Hitchcock would create a film that has an offbeat presentation where its first 20 minutes is set in Miami where Hitchcock’s usage of medium and wide shots at Huberman’s house showcases a house party where she wants to wind down while he does not show Devlin’s face for minutes as he is mysterious party crasher. When the film moves to Rio, Hitchcock does create an atmosphere that feels lively yet there is something off about it when he shoots scenes at Sebastian’s home. Notably as it is a posh house full of people but also secrets with a key being a major prop in the film’s second act when Devlin makes a visit. Considering that the film was made during the period of the Hays Code where kisses could not be longer than three seconds, a scene early in Rio where Devlin and Huberman are in a room where they would kiss each other where it would last a couple of seconds and then another couple of seconds.

It is among these moments in the film where Hitchcock would push the envelope of what could be done while he also employ some unique close-ups to help play into the drama and suspense. Notably in his compositions where he would have something happening in the foreground and something else happening in the background. Hitchcock would also employ some unique visuals during the third function as it play into Sebastian’s own revelation about Huberman where there is a sense of danger that is to happen. Even as characters become compromised with some taking control as its ending is an ambiguous one as it plays into the fates of those involved as well as what Hitchcock does not show that adds more intrigue. Overall, Hitchcock crafts a riveting and evocative film about a German-American woman asked to spy on one of her father’s former colleagues while falling in love with an American spy.

Cinematographer Ted Tetzlaff does incredible work with the film’s black-and-white cinematography with its usage of lighting for some of the interior scenes in the day and night as well as the way some rooms are lit as it is a highlight of the film. Editor Theron Warth does excellent work with the editing as it employ some straight cuts to let shots linger for a bit while there is also a scene that include some fast-cuts that help play into the suspense. Art directors Albert S. D’Agostino and Carroll Clark, along with set decorators Darrell Silvera and Claude Carpenter, do brilliant work with the look of the home that Huberman lives in Miami as well as the American embassy interiors in Rio and the Sebastian estate. Gown designer Edith Head does amazing work with the dresses and evening gowns that Huberman would wear at parties and other social events that play into Huberman’s personality.

The special effects by Vernon L. Walker and Paul Eagler are fantastic for the rear-projects for driving scenes as well as some dazzling visuals that play into a key scene in the film’s third act. The sound work of John E. Tribby and Terry Kellum do superb work with the sound in how things sound in a room as well as a tense scene that play into an event that would add to the suspense. The film’s music by Roy Webb is wonderful for its soaring orchestral score with bombastic string arrangements and pieces that ranges from waltz-like sounds to sambas as it help adds to suspense and drama.

The film’s marvelous ensemble cast feature some notable small roles from Fay Baker as a friend of Huberman in Ethel at the dinner party early in the film, Sir Charles Mendl as another friend of Huberman in the Commodore, and Wally Brown as another partygoer friend of Huberman. In the roles of former Nazi associates working with Sebastian include Friedrich von Ledebur as Knerr, Peter von Zerneck as Rossner, Ricardo Costa as a Brazilian in Dr. Barbosa, Ivan Triesault as the conspirator Mathis, Eberhard Krumschmidt as the conspirator Emil Hupka who would become troubled during a dinner in the film’s second act. Alexis Minotis is terrific as the Sebastian butler Joseph who watches over everything while becomes suspicious about Huberman. Moroni Olsen is superb as a U.S. agent in Walter Beardsley who works with Devlin. Reinhold Schunzel is excellent as a mysterious scientist in Dr. Anderson who is a colleague of Sebastian as he is also one of the leaders of the Nazi group.

Louis Calhern is fantastic as Devlin’s partner in Captain Paul Prescott who works in the Secret Service as he is trying to keep Devlin at bay while ensuring the assignment goes well. Leopoldine Konstantin is amazing as Sebastian’s mother Madame Anna as a woman that is suspicious towards Huberman as she is also a woman that is way more powerful and cunning than people give her credit for when she realizes that she knows something is not right about Huberman. Claude Rains is brilliant as Alex Sebastian as a former colleague of Huberman’s father who had a crush on Huberman as the idea of being with her again gives him a distraction that he craves from his Nazi activities though Rains brings that sense of a man who cannot be fooled easily where he would learn the truth.

Finally, there is the duo of Cary Grant and Ingrid Bergman in spectacular performances in their respective roles as T.R. Devlin and Alicia Huberman. Grant displays that sense of charm as well as a demeanor that makes him tough and cunning. Grant also displays that sensitivity when he becomes concerned about Huberman while aware that he is falling for her as he tries to not to get both in trouble. Bergman’s performance as Huberman is entrancing in her radiance as a woman that knows she is ruined by her father’s activities and a lack of a real future until she is asked to help the U.S. government to clear her own name. Bergman also displays this sense of a woman trying to maintain some control as well as knowing what is at stake where she would later cope with her own feelings for Devlin and what is at stake as it is one of Bergman’s finest performances.

Notorious is a magnificent film by Alfred Hitchcock that features tremendous leading performances from Cary Grant and Ingrid Bergman. Along with its supporting ensemble cast, Ben Hecht’s riveting screenplay, gorgeous visuals, a study of love and secrecy, and a vibrant yet intense music soundtrack. It is a film that is not just an intoxicating and gripping noir film but also a film that also pushes the limits of what could be done to display sensuality and desire. In the end, Notorious is an outstanding film by Alfred Hitchcock.

Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) – The 39 Steps (1935 film) - (Secret Agent) - (Sabotage) - (Young and Innocent) – The Lady Vanishes (1938 film) - (Jamaica Inn) – Rebecca - (Foreign Correspondent) – (Mr. & Mrs. Smith) – Suspicion (1941 film) - (Saboteur) – (Shadow of a Doubt) – Lifeboat - Bon Voyage (1944 film) - (Spellbound) – (The Paradine Cage) – Rope - (Under Capricorn) – (Stage Fright) – Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) – The Man Who Knew Too Much (1956 film) - (The Wrong Man) – Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) – (Topaz) – (Frenzy) – (Family Plot)

© thevoid99 2025

2014 Blind Spot Series: Duck Soup

Directed by Leo McCarey and written and scored by Bert Kalmar and Harry Ruby with additional dialogue from Arthur Sheekman and Nat Perrin, Duck Soup is the story of a man is named a dictator to a poor country as he declares war on a neighboring country. The film is a comedy where it plays to absurdist humor as it stars the Marx Brothers in Groucho, Harpo, Chico, and Zeppo in roles that defy description. Also starring Margaret Dumont, Louis Calhern, Raquel Torres, and Edgar Kennedy. Duck Soup is an insane yet roaring film from Leo McCarey and the Marx Brothers.

The film is this odd yet farcical film where a man is asked by a rich woman to lead her country out of poverty as he deals with a neighboring country’s ambassador where a series of misunderstandings and insults lead to the man declaring war. A lot of it is told through some very unconventional humor where it’s about jokes and gags that continue throughout the film as screenwriters Bert Kalmar and Harry Ruby throw away the rule book of what is funny and go for something that has an air of satire about government and war.

Especially as the fate of the fictional country Freedonia is in the hands of someone as completely out-of-step and off-the-wall as Rufus T. Firefly (Groucho Marx) who often spouts insults and does things to piss off the Sylvanian ambassador Trentino (Louis Calhern). Trentino would hire Chicolini (Chico Marx) and his mute brother Pinky (Harpo Marx) to spy on Firefly but things don’t exactly go as planned as it involves more hilarity and gags. Especially as some of the dialogue features some insults and such that adds to the film’s anarchic tone.

The direction of Leo McCarey is just as chaotic as the film’s script where it is about not just gags but the physicality in the performances that goes on that add to the film’s off-the-wall humor. McCarey’s direction does have some simple shots yet some of the wide shots he creates for some of the film’s musical numbers are very vibrant as it adds to the looseness of the film’s humor. The original music and songs written by its screenwriters do play into the frenzy of war, with some traditional songs in the mix, as well as the personalities of the characters. Some of the gags in the film showcase not just the brilliance of the Marx Brothers as comedy performers but also in what McCarey does to keep the humor going such as the much-lauded mirror scene and the climatic battle scene as it just adds to the farcical tone of the film. Overall, McCarey creates a very witty and entertaining film about a man who declares war on another country and create anarchy in every move he makes.

Cinematographer Henry Sharp does excellent work with the black-and-white photography to create some nice lighting schemes for some of the exteriors as well as some vibrant lights for the interior scenes. Editor LeRoy Stone does nice work with the editing as it has some rhythmic cuts for its humor and musical numbers as well as some stylish transitional wipes. Art directors Hans Dreier and W.B. Inhen do fantastic work with the sets from the palace that Firefly lives and work at to the office of Trentino. Sound recording engineer H.M. Lindgren does terrific work with some of the sound effects to play into Pinky‘s gags as well as some of the aspects in some of the funnier moments of the film.

The film’s cast includes some small yet noteworthy performances from Edgar Kennedy as a lemonade vendor who would have unfortunate encounters with Pinky and Chicolini, Raquel Torres as a femme fatale working for Trentino who tries to woo Firefly, Margaret Dumont as the rich widow Mrs. Gloria Teasdale whom Trentino and Firefly compete for her affection and money, and Louis Calhern as the snobbish yet conniving Sylvanian ambassador Trentino as he serves as a great man who often falls for the jokes. Finally, there’s the Marx Brothers in absolutely amazing performances with Zeppo in a small yet very memorable performance as Firefly’s personal secretary Lt. Bob Roland as he plays it straight. Chico brings a lot of wit as the very talkative Chicolini while Harpo is the funniest of the bunch as Pinky as he never says anything while doing all sorts of crazy things. Groucho is great as Rufus T. Firefly as he brings in a lot of witty banter and physicality to his performance as it includes some amazing moments with his brothers as they’re the film’s highlight.

Duck Soup is a magnificent film from Leo McCarey and the Marx Brothers as it’s one of the finest comedies ever created. Particularly in its mix of pantomime, physical comedy, and irreverent humor to showcase a world that is becoming more out-of-step with humanity. Most notably as it makes fun of the idea of war and governments in grand style. In the end, Duck Soup is a spectacular film from Leo McCarey and the Marx Brothers.

Marx Brothers Films: (Humor Risk) - (I’ll Say She Is) - (The Cocoanuts (1925)) - (Animal Crackers (1928 film)) - (The Cocoanuts (1929 film)) - (Animal Crackers (1930 film)) - (The House That Shadows Built) - (Monkey Business) - Horse Feathers - A Night at the Opera - A Day at the Races - Room Service - At the Circus - Go West - (The Big Store) - (A Night in Casablanca) - (Love Happy) - (The Story of Mankind)

© thevoid99 2014

Julius Caesar (1953 film)

Based on the play by William Shakespeare, Julius Caesar is the story about the death of Rome’s great leader in the hands of conspirators as Romans seek revenge. Written for the screen and directed by Joseph L. Mankiewicz, the film is a homage to Shakespeare’s play as well as presenting it as a cinematic epic. Starring Marlon Brando, James Mason, John Gielgud, Louis Calhern, Edmond O’Brien, Greer Garson, and Deborah Kerr. Julius Caesar is a compelling film from Joseph L. Mankiewicz.

With Julius Caesar (Louis Calhern) rising into power, not everyone in the Senate is happy about this as Cassius (John Gielgud) conspires to rid of Caesar. After convincing Marcus Brutus (James Mason) to join in assassinating Caesar, Brutus isn’t sure as he adores Caesar though doesn’t agree with Caesar’s ambitions. After a series of meetings where Casca (Edmond O’Brien) joins the group, Brutus remains unsure as his wife Portia (Deborah Kerr) is suspicious about his behavior. After Caesar’s wife Calpurnia (Greer Garson) has a nightmare thinking that Caesar would be killed, Caesar decides to attend the Senate meeting where he is eventually killed and betrayed by Brutus. Mark Antony (Marlon Brando) witnesses the aftermath as he confronts Brutus and Cassius over what they did as he later vows revenge.

After a speech in which Antony talks about Caesar to the Romans, war emerges as Antony and Octavius (Douglass Watson) lead a revolt against Cassius and Brutus. Still haunted by his actions, Brutus deals with his own issues as the ghost of Caesar emerges. Wanting to move the army, they’re ambushed by Antony’s men prompting Cassius and Brutus to realize their fates.

The film is a dramatic telling of Shakespeare’s play of tragedy and political conspiracy that is created for the screen. While a lot of Shakespeare’s dialogue and setting is there, Joseph L. Mankiewicz’s screenplay tends to draw out some of the monologue a little too long in some scenes. Notably in the film’s first half where the conspirators make their plans where some of the monologue is engaging but at times, they tend to drag out the story. By the time the film moves into its second half, the story becomes much looser once battle starts to emerge as well as Brutus’ internal conflicts.

Mankiewicz’s direction is wonderful for the way he captures the actors with amazing close-ups and creating wide shots for some crowd scenes. Notably in the scenes where characters like Brutus, Cassius, and Antony give their respective monologues as the camera is always on them. While there’s some great direction in these monologues, the only problem is that at times. They go out for a little too long as there’s not enough interaction between characters in those scenes with the exception of Antony’s speech to the crowd. For the film’s second half involving the war, Mankiewicz does create some entrancing scenes where it involves cloudy grounds to express the sense of dread that occurs. Overall, Mankiewicz creates a solidly-crafted film that plays true to William Shakespeare’s theatrical setting.

Cinematographer Joseph Ruttenberg does excellent work with the film‘s black and white cinematography to capture the gorgeous setting of the Roman Empire along with wonderful interior shots of the Senate Halls in the film‘s climatic assassination scene. Editor John Dunning does nice work with the editing to use dissolves and fade-outs to help smooth out the transition while a lot of the cutting is very straightforward. Art directors Edward C. Carfagno and Cedric Gibbons, with set decorators Hugh Hunt and Edwin B. Willis, do brilliant work with the set pieces such as the Senate Hall and palaces the characters live in during the time of the Romans.

Costume designer Herschel McCoy does terrific work with the making of the robes many of the characters wear along with the armor for the climatic battle scene towards the end of the film. Sound mixer Robert Shirley does superb work with the sound from the way the swords move in the assassination scenes to the atmosphere of the crowd scenes. The film’s score by Miklos Rozsa is very good for its bombastic orchestral pieces for some of the film’s key intense moments along with more serene pieces for some of the film’s calmer moments.

The casting by Mel Ballerino is remarkable for the ensemble that is created as it includes appearances from John Hardy as Brutus’ young aide Lucius, Richard Hale as the blind soothsayer who warns Caesar early in the film, Alan Napier as Cicero, and Douglass Watson as Octavius. Other notable small roles include Deborah Kerr in a small but memorable performance as Brutus’ concerned wife Portia and Greer Garson in a very good performance as Caesar’s fearful wife Calpurnia. Edmond O’Brien is wonderful as Cassius’ friend Casca who takes part in the assassination plot while Louis Calhern is terrific in his small role as Julius Caesar.

James Mason is excellent as the conflicted Brutus who loves Caesar as he’s manipulated into killing him only to become consumed with guilt over what he’s done. John Gielgud is brilliant as the manipulative Cassius whose biting monologue about ambition and chaos has him stealing the film from nearly everyone. Finally, there’s Marlon Brando as Mark Antony where Brando gets a chance to show his skills as a theatrical actor while spouting great monologues with an intensity that is almost un-matched by everyone as it’s one of his essential performances.

Julius Caesar is a stellar yet engrossing film from Joseph L. Mankiewicz thanks in part to the thrilling performances of Marlon Brando, John Gielgud, and James Mason. While it isn’t a perfect film due to a few pacing issues, it is still a film that anyone interesting in acting must see. Notably for the monologues given by masters like Gielgud and Brando where they each give great lessons in the art of acting. In the end, Joseph L. Mankiewicz’s take on William Shakespeare’s Julius Caesar is a fantastic film for anyone that is interested in the art of acting.

Joseph L. Mankiewicz Films: (Dragonwyck) - (Somewhere in the Night) - (The Late George Apley) - (The Ghost and Mrs. Muir) - (Escape (1948 film)) - (A Letter to Three Wives) - (House of Strangers) - (No Way Out (1950)) - All About Eve - (People Will Talk) - (5 Fingers) - (The Barefoot Contessa) - (Guys and Dolls) - (The Quiet American (1958)) - (Cleopatra) - (Carol for Another Christmas) - (The Honey Pot) - (There Was a Crooked Man…) - (Sleuth)

© thevoid99 2012