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Notorious (1946)

Approved | | Drama, Film-Noir, Romance | 6 September 1946 (USA)
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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Nominated for 2 Oscars. Another 3 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
...
...
...
...
...
Mme. Sebastian (as Madame Konstantin)
...
'Dr. Anderson' (as Reinhold Schunzel)
...
Walter Beardsley
Ivan Triesault ...
Eric Mathis
Alexis Minotis ...
Joseph (as Alex Minotis)
...
Mr. Hopkins
Charles Mendl ...
Commodore (as Sir Charles Mendl)
Ricardo Costa ...
Dr. Barbosa
E.A. Krumschmidt ...
Hupka (as Eberhard Krumschmidt)
Fay Baker ...
Ethel
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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 | nazi | uranium | wine | german | See All (105) »

Taglines:

Electric Tension! 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)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Despite its success, Notorious was later disliked among many Germans (who survived WW2) since they felt that the film gave a wrong impression of National Socialists. The script of this film was written by Ben Hecht who was a strong opponent of National Socialism. See more »

Goofs

Early in the movie, an intoxicated Alicia Huberman asks to go driving with T.R. Devlin. They are then seen driving in a 1941 Cadillac Series 62 Deluxe convertible in Miami Florida (top down). Current year of the movie is 1946. The 1941 Cadillac Series 62 Convertible is a rare model with only 3100 units built. Later in the movie, Alicia Huberman and T.R. Devlin fly to Brazil. Once in Rio de Janeiro Alicia and T.R. are again seen driving in a 1941 Cadillac Series 62 Convertible (top up) which would have been extremely rare in Brazil. Less then 500 were built for export. The same car is used in both scenes. This would have been impossible in real life as the flight would have taken hours to Rio where shipping the car would have taken weeks. Both Rio scenes and Miami scenes were shot in either country using the same car. 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 ...
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Crazy Credits

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

Connections

Spoofed in High Anxiety (1977) 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
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Frequently Asked Questions

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User Reviews

 
Bergman and Grants chemistry goes unsurpassed
14 March 1999 | by (Berkeley california) – See all my reviews

Bergman and Grant are the true romantics of cinema. They move throughout the film as if they were acting naturally toward one another. Hitchcock puts them both in closeups especially the illuminating Bergman, capturing the power of the medium.

When Bergman says "Oh, you love me-you love me" in that wonderful close up I have to think to myself, how much I look forward to becoming a film maker. Why can't Hollywood capture moments like these in today's features?

Note how long the kiss lasts as Bergman and Grant move from the balcony to the living room. The lighting and camera positioning are phenomenal. Do not expect the typical Hitchcock here but then again it is hard to say what a typical Hitchcock is. Each of his films contain so many different elements yet, at the same time possess the true signature of an auteur.


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