Notorious Film Analysis
When searching for images from Notorious (1946) almost every one of them includes a half full/empty bottle or glass. In a film about the aftermath of worldwide war, somehow alcohol and its dangers work their way into being a major theme. The film begins with the two main characters throwing down a few drinks and then partaking in a drunken car ride away from their problems. Eventually, they are pulled over and we see Alicia (Ingrid Bergman), in a drunken fit, lash out at Mr. Devin (Cary Grant), who mocks her apparent alcoholism. For Alicia alcohol is an escape from her guilt and pain created by her father’s treason. She attempts to camouflage her emotions with whiskey, brandy, champagne, and even coffee. The early moments in the car and in
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1946 America was ready to forget the romanticism that had surrounded the battles for the better half of the decade. And Hitchcock heavily plays up his distaste from the very beginning. The American agents are never shown in a friendly light, but rather always in a devious darkness (in one scene Alicia actually asks for the light to turned down while in their company). Somehow they manage to consistently trick Alicia. Devin tricks her into thinking he is nothing more than a civilian, the officers trick her into a dangerous operation by baiting her with her father’s indiscretions. Rather than an ally, the agents are manipulators, who see Alicia as a tool rather than a person, telling her pushing the physical limits of the relationship is okay. Their coldness goes on to influence their setting, which unlike Sebastian’s grand house, the American offices are dark, rigid, and symmetrical. With only simple black statues, plain lambs, and closed blinds as decoration. And the distaste goes farther than just the mise en scène. As the film progresses we never see any positive effects of the work of the Americans. In fact, the entirety of the film is a look into the negatives of the allied efforts, a plot line that differs drastically to its counterpart Casablanca. Casablanca, released in 1943, is full of the patriotic spirit of the war. Whereas Notorious has a complete disregard for such a spirit, producing a film with a cynical view of American patriotism fueled by lust and power and a good
1946 America was ready to forget the romanticism that had surrounded the battles for the better half of the decade. And Hitchcock heavily plays up his distaste from the very beginning. The American agents are never shown in a friendly light, but rather always in a devious darkness (in one scene Alicia actually asks for the light to turned down while in their company). Somehow they manage to consistently trick Alicia. Devin tricks her into thinking he is nothing more than a civilian, the officers trick her into a dangerous operation by baiting her with her father’s indiscretions. Rather than an ally, the agents are manipulators, who see Alicia as a tool rather than a person, telling her pushing the physical limits of the relationship is okay. Their coldness goes on to influence their setting, which unlike Sebastian’s grand house, the American offices are dark, rigid, and symmetrical. With only simple black statues, plain lambs, and closed blinds as decoration. And the distaste goes farther than just the mise en scène. As the film progresses we never see any positive effects of the work of the Americans. In fact, the entirety of the film is a look into the negatives of the allied efforts, a plot line that differs drastically to its counterpart Casablanca. Casablanca, released in 1943, is full of the patriotic spirit of the war. Whereas Notorious has a complete disregard for such a spirit, producing a film with a cynical view of American patriotism fueled by lust and power and a good