In Defense Of What Now Figures To Be “Premature” Anti-Fascist Fighters-Cary Grant And Ingrid Bergman in Sir Alfred Hitchcock’s “Notorious” (1946)-A Film Review

In Defense Of What Now Figures To Be “Premature” Anti-Fascist Fighters-Cary Grant And Ingrid Bergman in Sir Alfred Hitchcock’s “Notorious” (1946)-A Film Review

DVD Review

By Fritz Taylor

Notorious, starring Ingrid Bergman, Cary Grant, Claude Raines, directed by the late Sir Alfred Hitchcock ( I was not sure whether when somebody had the honorific “sir” before his name and it is not hereditary whether it sticks for eternity and nobody else around the publication knew either so lacking somebody connected with the College of Heraldry I will keep it and let the bloody queen and her minions figure it out), 1946

The regular reader may wonder why I, Fritz, Taylor, who usually does commentary on wars and military affairs and not film reviews drew this assignment. That can be answered with two remarks. First, sort of strangely given the casualty numbers I was the only one on the staff, regular or contributing as is my status, who had lost a relative, actually two relatives, my uncle on my mother’s side and a cousin on my father’s side in World War II. Specifically, in the European Theater where the Soviet-led and American-assisted struggle was against the Nazi, fascist scourge. The anti-fascist sentiment runs very deeply in my family, my Southern-roots family who take such things seriously, take the military seriously. The second was that of all the people associated with this publication who are actively, meaning not just writing about it but out on the streets, opposing the current wave of fascist expression in social media and out on those very same streets which goes under several names Nazi, White Nationalist, Alt-Right but they are birds of a feather it has been determined around the water cooler that I am the most vociferous and involved. Sam Lowell, who under normal circumstances would hit a home run on the subject matter of the film under review, Notorious, is not only in a running battle with a young up and coming colleague but has sensed that I can do greater justice to the subject and so persuaded Greg Green to let me take a stab at it.

I was not familiar with this film although as a kid I saw several Sir Alfred Hitchcock films, mostly in color like Vertigo, The Bird, and his re-make of his original The Man Who Knew Too Much so I was a bit shocked by the premise that the American government in 1946, in the person of Dev a federal agent of some sort, played by suave and solid Cary Grant, was gung-ho about tracing down some recalcitrant and nasty exiled Nazis and their agents down in Rio. More so since the reality was that the American government was, except for the hardened Nazis at Nuremburg and such were trying to rehabilitate this ramble in the struggle against the Soviet Union in the ice-cold Cold War. But what really galled me was the idea then, today too in the age of Trump, that the anti-fascist struggle was to be left in the hands of governmental agents. My every instinct rebelled against that false idea, those “alternative facts” knowing what has been happening in the past several years. 

But to the film on its own premises. We already know about Dev, about the federal agent part but that would get the agency he worked for now nowhere since the guys who they were dealing with, those rats down in Rio were hooked into what was going on, were wise to the idea that the feds were on to them. Dev and friends needed a “lure,” needed a stoolie and who better that the party girl daughter of a guy who was sentenced in federal court in Miami for treason against the United States and who subsequently took his own poison pill just like in the movies. Enter one Alicia, played but off-handedly, ah, beautiful to fall down and cry for Ingrid Bergman, she last seen in this space according to Seth Garth who keeps tabs on such things as Victor Lazlo’s wife and rock in Casablanca leaving Rick of Rick’s Café and Louie to form a beautiful friendship. After lots of hemming and hawing and a little off-hand romancing Alicia buys into the project although what role she will play is not yet determined. So off to Rio but don’t blame that torrid town for harboring rats and their ilk.

Enter the plan once Dev and Alicia get settled in. The “mark” one Alex, played by Claude Rains last seen in this space according to Seth Garth who as I have already mentioned keeps tabs on such things as Rick of Rick’s Café out of Casablanca that’s in Morocco next beautiful friend after Victor Lazlo and Ingrid take off on the last plane to Lisbon to lead the anti-fascist resistance in sunken Europe, who with an overbearing mother is central to the financing of what they plan will be the 4th Reich (and no mistakes this time letting a bum like Hitler grind things down to nothing). That is where the “lure” literally comes in. Somehow Alex and Alicia knew each other, and Alex had been smitten -and would still be smitten. 

Of course, that would complicate the Alicia-Dev budding romance but the fight against the rats and the closing down of their rathole had to come first. The thing got so carried away though that smitten Alex actually married Alicia as a test of whether she was sincerely smitten by him. Sorry Alex she only has eyes for Dev whatever eye wash both try to put out to the public. The trouble, big trouble for Alex, is that Alicia is not only beautiful, hey lets’ call it by its right name, drop dead beautiful, but smart and worms some secret info out of him in passing before he realizes that she is a freaking American agent. Alex tries to slowly poison Alicia to get out from under what is in store for him but ready Dev comes to the rescue and Alex has to play along. Play along to his doom once his confederates figure out Alicia knew too much via the Alex pipeline. The last scene is great at some level when one of the Nazi confederates calls Alex to come hither and the dreaded door closes behind him. Gone.               

If assuming the American government gave enough of a rat’s ass about crushing a fascist revival in the bud in 1946, which we now know was hooey, to put an agency on the task it is also wrong to assume that we can let the cretins, and here I mean today’s progeny of those cretins, take care of their own like that last scene mentioned above. That said maybe the best way to really look at this film in order to get my blood pressure down is to see it as yet another variation on old Hollywood chestnut-boy meets girl- that has saved a million films and we will deal with the political conclusions ourselves. Yeah, Sam was right to tag me for this review. Enough said.