A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
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 <email@example.com>
Alma Reville may have had another reason for jealousy, according to biographer Donald Spoto. Alfred Hitchcock's longtime collaborator, script doctor, and adviser, she was often shunted aside during his successful writing partnership with Ben Hecht. See more »
Did Hitch goof? At the dinner which Alicia Huberman (Ingrid Bergman) attends with all the I.G. Farben baddies there seems to be an uncharacteristic slip-up for the usually meticulous and detailed oriented Hitchcock. The labeled bottles of wine "(Volnay) Cailleret Bouchard" that Emille Hubka (Eberhard Krumschmidt) is visibly disturbed about bears totally NO resemblance to the later bottles of "Pommard," those down in the Sebastian wine cellar, where some specific ones contain the radioactive ore samples. For one thing the earlier bottles have no separate vintage label as does the 1934 bottles in question, and, even the bottle shape is wrong. See more »
Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six...
[reporters and photographers converse amongst themselves outside the courtroom]
Is there any legal reason why sentence should not be pronounced?
No, your honor.
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...
I wouldn't say any more. We'll need that for the ...
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Opening credits prologue: Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six.... See more »
One of Hitchcock's most thrilling examinations of psychosexual ambiguity
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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