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Notorious (1946) Poster

(1946)

Trivia

Jump to: Director Trademark (3)
After filming had ended, Cary Grant kept the famous UNICA key. A few years later he gave the key to his great friend and co-star Ingrid Bergman, saying that the key had given him luck and hoped it would do the same for her. Many years later, at a tribute to Director Sir Alfred Hitchcock, Bergman went off-script and presented the key to him, to his surprise and delight.
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Sir Alfred Hitchcock got the shot where Ingrid Bergman is in the background and the coffee cup is in the foreground, with both in focus, by using a giant coffee cup placed farther away than it appears.
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Leopoldine Konstantin played the mother of Claude Rains, but in real-life, she was only four years older than him.
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Director Sir Alfred Hitchcock and Screenwriter Ben Hecht consulted Nobel Prize winner Dr. Robert Millikan on how to make an atomic bomb. He refused to answer, but confirmed that the principal ingredient, uranium, could fit in a wine bottle.
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Sir Alfred Hitchcock claimed that the F.B.I. had him under surveillance for three months because this movie dealt with uranium.
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The legendary on-again, off-again kiss between Cary Grant and Ingrid Bergman was designed to skirt the Hayes Code that restricted kisses to no more than three seconds each.
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Sir Alfred Hitchcock and Ingrid Bergman managed to get along famously, despite his infatuation with her. Hitchcock once told the story of how Bergman, attending one of the frequent dinner parties at his house, hysterically refused to leave his bedroom until he made love to her, an episode that almost surely never happened, but his obsession with her was obvious enough to cause tension between him and his wife of many years, Alma Reville.
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Sir Alfred Hitchcock said he was inspired to do the kissing scene in part by the memory of a young couple he spotted from a train in France. The boy was urinating against a wall and the girl had hold of his arm, never letting go. "She'd look down at what he was doing, and then look around at the scenery, and down again to see how far he's got on", Hitchcock explained. "And that was what gave me the idea. She couldn't let go. Romance must not be interrupted, even by urinating."
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The kissing scene on the balcony was largely improvised. Sir Alfred Hitchcock told Cary Grant and Ingrid Bergman to just speak as lovers would.
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DIRECTOR CAMEO (Sir Alfred Hitchcock): (At around an hour and four minutes) At the party in Alexander Sebastian's mansion, Hitchcock gets a glass of champagne from the bartender and quickly turns to the left and walks off screen.
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Leopoldine Konstantin's performance as Madame Sebastian was her only role in an American movie.
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Claude Rains was made to stand on a box for several of his scenes with Ingrid Bergman (not, however, in the honeymoon return scene). This gives the strange effect that Rains and Cary Grant were slightly taller than Bergman, while Grant was actually about seven inches taller than Rains.
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Cary Grant and Ingrid Bergman found the famous kissing scene quite problematic, according to Sir Alfred Hitchcock, because of the complicated blocking that needed to be remembered in the several long takes that it took to shoot it.
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To get around possible censor objections to kissing scenes that were too long and passionate, Sir Alfred Hitchcock devised a scene where Cary Grant and Ingrid Bergman would neck and nibble at each other for a few minutes while they discussed food, moved about the apartment, and spoke on the phone.
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In the original script, Alicia was a sex worker.
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The set used in this movie for the interior of the house of Alex Sebastian (Claude Rains) can also be seen in 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.
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This is the second adaptation of the story "The Song of the Dragon" by John Taintor Foote. The first being the silent movie, Convoy (1927).
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RKO Pictures bought Producer David O. Selznick's package, consisting of Screenwriter Ben Hecht, Director Sir Alfred Hitchcock, Cary Grant, and Ingrid Bergman for eight hundred thousand dollars and fifty percent of the profits.
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When Devlin and Alicia walk down the stairs at the end, it takes more steps than it took Devlin earlier in the movie, which Roger Ebert called "Hitchcock's way of prolonging the suspense."
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Producer David O. Selznick sold the rights to RKO Pictures in order to finance part of Duel in the Sun (1946), which was over-budget and behind schedule.
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The scene of Alicia drunkenly speeding along a South Florida road with Devlin as her passenger was shot in the studio with rear projection. The projected shots had a motorcycle cop gaining on them. As he gets closer to the car, he goes out of frame to the right, and the movie cuts to him riding next to the car, this time in the studio. Sir Alfred Hitchcock suggested to Cinematographer Ted Tetzlaff that he shine light on the backs of Cary Grant's and Ingrid Bergman's necks as the projected motorcyclist moves off to their side. According to Alfred Hitchcock, Tetzlaff was irritated that Hitchcock thought of this instead of him and snapped, "Getting a bit technical, aren't you, Pop?"
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The name of the lock cylinder, Unica, is a Portuguese word meaning "sole", "single", "only", "one", or "unique". "Unica" is a famous Brazilian key manufacturer brand.
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Ingrid Bergman and Claude Rains appeared in Casablanca (1942).
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Ethel Barrymore was offered the part of Madame Sebastian, but turned it down.
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Sir Alfred Hitchcock was his usual unflappable self during production. While in conference with Ted Tetzlaff on the set one day, a fire broke out. Hitchcock finished his sentence to Tetzlaff, turned to some stagehands and said quite coolly, "Will someone please put that fire out?" He then returned to his conversation.
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While filming one shot, Cary Grant carped that he was supposed to open the door with his right hand, but he was holding his hat in that hand. "Have you considered the possibility of transferring the hat to the other hand?" Sir Alfred Hitchcock replied.
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Sir Alfred Hitchcock and Ingrid Bergman's happy working relationship was enhanced by the opening of their previous movie in November 1945 during production of this movie. Spellbound (1945) received enthusiastic reviews, and within a few weeks of its release, was well on its way to earning eight times its cost.
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"Lux Radio Theater" broadcast a sixty minute radio adaptation of this movie on January 26, 1948 with Ingrid Bergman reprising her role.
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In 2006, this movie was added to the National Film Registry by the United States Library of Congress.
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Included among the American Film Institute's 1998 list of the 400 movies nominated for the Top 100 Greatest American Movies.
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Alma Reville may have had another reason for jealousy, according to biographer Donald Spoto. Sir Alfred Hitchcock's longtime collaborator, script doctor, and adviser, she was often shunted aside during his successful writing partnership with Ben Hecht.
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Producer David O. Selznick originally wanted Vivien Leigh to play Alicia.
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When Screenwriter Ben Hecht watched the filming of Devlin and Alicia kissing while discussing dinner, he said, "I don't get all this talk about chicken!"
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Alicia (Ingrid Bergman) asks Dr. Anderson (Reinhold Schünzel) whether he's going to Leopoldina, Minas Gerais, Brazil. According to wikipedia.com, "Leopoldina was the site of a wave of immigration of Jews, mostly from Eastern Europe, in the 1920s and 1930s"
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Joseph Cotten was considered for the role of T.R. Devlin.
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Bea Benaderet, Elizabeth Wilson, and Virginia Gregg all made their theatrical movie debuts playing file clerks.
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Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
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This marked the retirement of Ted Tetzlaff as a Director of Photography. He spent the final dozen years of his career as a director.
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"The Screen Guild Theater" broadcast a thirty minute radio adaptation of this movie on January 6, 1949 with Ingrid Bergman reprising her role.
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The film is included on Roger Ebert's "Great Movies" list.
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Lester Dorr was cast as a motorcycle policeman, but was cut from the released print.
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Opening credits: The characters and events depicted in this photoplay are fictional. Any similarity to actual persons, living or dead, is purely coincidental.
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This film is part of the Criterion Collection, spine #137.
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Director Trademark 

Alfred Hitchcock: [mother] Alex has a close relationship with his mother.
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Alfred Hitchcock: [assumed identity] Alicia (Ingrid Bergman) pretends to be a Nazi.
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