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Notorious (1946)

8.2
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Ratings: 8.2/10 from 56,796 users  
Reviews: 262 user | 143 critic

A woman is asked to spy on a group of Nazi friends in South America. How far will she have to go to ingratiate herself with them?

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Title: Notorious (1946)

Notorious (1946) on IMDb 8.2/10

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Top 250 #199 | Nominated for 2 Oscars. Another 2 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
...
...
...
...
Leopoldine Konstantin ...
Mme. Sebastian (as Madame Konstantin)
Reinhold Schünzel ...
'Dr. Anderson' (as Reinhold Schunzel)
Moroni Olsen ...
Walter Beardsley
Ivan Triesault ...
Eric Mathis
Alexis Minotis ...
Joseph (as Alex Minotis)
Wally Brown ...
Mr. Hopkins
Charles Mendl ...
Commodore (as Sir Charles Mendl)
Ricardo Costa ...
Dr. Barbosa
E.A. Krumschmidt ...
Hupka (as Eberhard Krumschmidt)
Fay Baker ...
Ethel
Edit

Storyline

Following the conviction of her German father for treason against the U.S., Alicia Huberman takes to drink and men. She is approached by a government agent (T.R. Devlin) who asks her to spy on a group of her father's Nazi friends operating out of Rio de Janeiro. A romance develops between Alicia and Devlin, but she starts to get too involved in her work. Written by Col Needham <col@imdb.com>

Plot Summary | Add Synopsis

Plot Keywords:

spy | german | wine | wine cellar | love | See more »

Taglines:

Notorious Woman of many Desires! Fateful Fascination! Bold Intrigue! See more »


Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

6 September 1946 (USA)  »

Also Known As:

Alfred Hitchcock's Notorious  »

Filming Locations:

 »

Box Office

Budget:

$2,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Leopoldine Konstantin played the mother of Claude Rains but in real life she was only 4 years older than Rains. See more »

Goofs

When Devlin and Alicia are having a drink at an outside table in a busy cafe, the same portion of background film was used in two separate parts of their dialogue (a man walks away from the camera, then a waiter approaches a distant table and starts to put down some drinks from his tray). See more »

Quotes

[first lines]
[Title card]: Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six...
[reporters and photographers converse amongst themselves outside the courtroom]
Judge: Is there any legal reason why sentence should not be pronounced?
District Attorney: No, your honor.
John Huberman: Yes, I have something to say. You can put me away, but you can't put away what's going to happen to you, and to this whole country next time. Next time we are going...
Defense Counsel: [whispering] I wouldn't say any more. We'll need that for the ...
See more »

Crazy Credits

Opening credits prologue: Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six... See more »

Connections

Featured in Indie Sex: Censored (2007) See more »

Soundtracks

Carnaval, Op. 9, Scènes mignonnes sur quatre notes: 'Chopin'
(uncredited)
Written by Robert Schumann
Performed in the distance as Alicia enters Alex's house for the first time
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
One of Hitchcock's most thrilling examinations of psychosexual ambiguity
25 October 1999 | by (toronto) – See all my reviews

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.


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