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 <firstname.lastname@example.org>
The set used in this film for the interior of the house of Alex Sebastian (Claude Rains) can also be seen in the RKO production The Locket (1946) as the house of Mrs. Willis (Katherine Emery). This is especially noticeable in scenes filmed in the part of the set representing the second floor corridor. See more »
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 »
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 »
Hitchcock introduces his stars with a cinematic blow that makes the opening of this dark, scrumptious thriller a monumental treat. He uses their star personalities and turns them round to dislocate us, teasing us with his unmistakable touch. The absurdity of the plot becomes totally plausible and the suspense is not merely unbearable but thrillingly entertaining. All of Hitchcock's favorite emotional and visual toys are present here. The icy blond, the sexual tension, the weakling villain with a castrating mother. A legendary kiss and a happy ending. Whenever I meet someone who hasn't seen any Hitchcock movies - and there are people in this world, believe it or not, who hasn't - I show them Notorious and always without fail, they are hooked forever. Just the way I was, I am and, I suspect, will always be. Cary Grant is allowed a dark unsmiling romantic hero and Ingrid Bergman lowers her strength to become a woman in love and in jeopardy but unwilling to appear as a victim. This gem of a film can be seen again and again without ever becoming tired or obvious. I'm sure you guessed it by now, this is one of my favorite films of all time.
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