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00:00Hola.
00:02Oh, hola.
00:03I thought I saw you.
00:04How are you?
00:05Fine, thanks.
00:06Great turn out, isn't it?
00:07Yes.
00:08Where are they?
00:10In a box in the stand.
00:12I don't think they can see us, Alex and his mother.
00:15Don't telephone me anymore, just rely upon my popping up.
00:19Alfred Hitchcock's Notorious is a very emblematic film of Hitchcock's style,
00:25which has a certain kind of energy and tension and intrigue to it,
00:31but which is always encapsulated in the dynamics of shifting alliances.
00:37And in this case, back and forth in his love story,
00:41a sense of betrayal in it and the surrounding characters
00:46and trapping the two lovers who essentially can't really reveal themselves.
00:52And I think Hitchcock, a signature of his work in a way,
00:56is this, despite what he said about actors
00:59and how he might have felt about actors,
01:01he actually fundamentally embedded one or two characters
01:06in all of his films as the central driving force.
01:10His sense of style was always subsumed into character.
01:15We don't think of Hitchcock as being an innovator or a groundbreaker
01:29in terms of creating new language of cinema.
01:32In a lot of ways, Hitchcock, you know, from the very beginning,
01:36even you go back to his silent films like The Lodger,
01:39the images are classical.
01:41What he did was he used a lot of the existing techniques
01:45in a very individual way.
01:50One of the things that I find so distinguishing about Notorious
01:53is really actually not about the cinematography at all,
01:56as wonderful as it is, but of the script.
01:59It's a very sophisticated script,
02:01and that just kind of wonderful contrasting styles of dialogue
02:05that Ingrid Bergman and Cary Grant have.
02:08She's so open in so much of it, so vulnerable, so emotional.
02:13And he is so drawn in and so clipped in, almost emotionless,
02:20especially, you know, in the first half or two-thirds of the picture.
02:24Well, handsome, I think you better tell Mama what's going on
02:27or all this secrecy is going to ruin my little dinner.
02:30Come on, Mr. D, what is darkening your brow?
02:35After dinner.
02:36No, no.
02:37It's one of the better screenplays, I think,
02:40in all of Hitchcock's films.
02:42And Roy Webb's score is so beautiful,
02:45and it almost kind of forecasts the same kind of tension
02:49and restrained energy that Bernard Herrmann had
02:52in some of the later scores.
02:54Mr. Sebastian has the key for this, but...
02:57It's the wine, sir.
02:59Ted Tedzloff's just luminous cinematography.
03:14It honors both the conceits of the thriller, on one hand,
03:18it's almost an early film noir,
03:20but it's also just so beautifully done, the lighting,
03:24so delicate and subtle in the classic Hollywood studio style.
03:28It almost evokes a paramount or an MGM sheen to it,
03:33even though it's an RKO film,
03:35which are often associated with a kind of a tougher,
03:38more virile lighting style.
03:41Early in the film, after the opening scene where she gets drunk
03:46and she wakes up the next morning after the drive,
03:49and she sees this POV of Cary Grant, and he's kind of tilted,
03:54and he moves forward, and the camera straightens
03:56and tilts the other direction.
03:58He comes, he stands over her, she looks, and he's upside down.
04:03These are classic noir angles, and they're not things that Hitchcock did a lot.
04:09Hitchcock was not one for using a lot of those sort of deep focus,
04:14wide-angle techniques that became part of the noir vocabulary,
04:20but we do see suggestions of it.
04:23Ted Tetzloff started in the silent era,
04:28and in the early 30s, Tetzloff photographed like a dozen films a year.
04:33And being able to work quickly
04:36and develop this sort of almost shorthand way of working
04:40where he could create a sense of just beautiful imagery,
04:44which was required by the studios in those days, is amazing.
04:48So by the time he got to Notorious,
04:51which was his last film as a director of photography,
04:55he'd shot well over 100 feature films.
04:59I mean, that's amazing.
05:01And it's interesting that it was such a studio-bound film.
05:06When he became a director from 1947 to 1957,
05:11he went completely in the opposite direction,
05:15and he went out into the streets,
05:17and his first movie, The Window, is really a street film,
05:21and anticipated the whole genre of New York street films
05:25that we associate starting with Naked City.
05:31When you go back to Notorious,
05:33Hitchcock was truly very focused
05:35on how the actors were introduced in his movies,
05:40where we first see them.
05:42And how we see them kind of forecasts
05:45how we're going to feel about them.
05:47And the fact that Ingrid Bergman is introduced straight on,
05:51and the camera is with her,
05:53gives us this real sense of empathy with her.
05:55And it's interesting,
05:56because she's sort of lost in the crowd at first.
05:58But as soon as we see her and recognize her,
06:01the camera is dolling back, leading her,
06:04with this gaggle of photographers, reporters coming up to her.
06:08And instead of cutting to a wide shot,
06:10we stay very close on her.
06:12And you immediately get the sense of the oppression on her,
06:18you know, by just being with her
06:23and seeing all this stuff happen around her.
06:25I'm very sorry, you all have to go.
06:27It has been a perfectly hideous party.
06:30The fact that we don't see Cary Grant at all
06:33in the first scene,
06:34he becomes instantly a man of mystery.
06:38For the next half hour of the film,
06:40he's very enigmatic.
06:41We sense this growing love story,
06:44but it's hard to read him.
06:46And that's the conflict that plays with his character
06:49all the way through the film.
06:51Haven't I seen you somewhere before?
06:53Well, it doesn't matter.
06:55I like party crashers.
06:57He's not a party crasher, I brought him.
07:01The opening party scene,
07:03where Ingrid Bergman is hosting friends
07:06and we see Cary Grant and Silhouette
07:08on the left side of the frame.
07:10It's like a two and a half minute scene.
07:12It's one shot.
07:13The way we use these long takes today,
07:17or plans de cons, as the French call it,
07:20is as a frame or an excuse to be bravura,
07:24to show the kind of pyrotechniques
07:26that the director and the cinematographer
07:28are capable of.
07:29Hey, look at me.
07:30Kind of fancy camera acrobatics.
07:33Hitchcock never did it for that reason,
07:35because I think he was very concerned
07:38with the kind of visual slash emotional investment
07:43that you as the audience would have in the film
07:46as it unfolded and become totally invested
07:49in a sense of the real time.
07:51And one of the great things about the uninterrupted
07:54or the uncut shot is you're sitting there
07:57and you are experiencing the real time
08:00of the character in the scene.
08:03The focus is constantly on Ingrid Bergman,
08:06and it says very early in the film
08:10that this is the person who is the nodal point.
08:14She's the linchpin of the film.
08:16Do you know something? I like you.
08:19Well, I'll see you on board on this show at 9 o'clock.
08:22I think almost all of Hitchcock's style
08:24is grounded in the actual character
08:28and character revelation and character emotion.
08:31There are several times where there are scenes
08:34between Bergman and Cary Grant
08:37where the master shot is lit in a very nice classical style,
08:42but you move in for the single shots,
08:45and there is almost a complete violation
08:47of the integrity of that lighting
08:49when he puts a little spotlight on the face,
08:52you know, with a shadow across it.
08:54And for me as a cinematographer, of course,
08:56it jumps out and says,
08:57that doesn't match at all.
08:59But it's very deliberate
09:00because they wanted you to just see the eyes
09:03in that emotional moment, I think.
09:05Push me away.
09:11I'm sorry to intrude on this tender scene.
09:14Toward the end of the film,
09:16when Ingrid Bergman is being poisoned,
09:19that coffee cup is the chalice of her death in a way.
09:23Madame Constantine, Claude Rains' mother,
09:26has poured the coffee and she carries the coffee over,
09:30puts it on the table, the camera goes with her,
09:33we see the coffee cup,
09:35but then we tilt up to Ingrid Bergman's face.
09:38And it's always tied in, things like that,
09:41because the cup and then right to her face,
09:45and it just emotionally, this inert cup,
09:48becomes a highly charged emotional thing
09:50by virtue of the fact that the shot is continued
09:53as a pan and a dolly, that there's not a cut.
09:56If there were a cut there,
09:57it would have created a different sense of a displacement.
10:00Well, props and pieces of set dressing and things like that
10:04really are important in Hitchcock,
10:07because they seem to be objective, unemotive objects,
10:12but in fact they become so tied in
10:15to the dramatic situation of the actor.
10:19In North by Northwest, the famous sequence of Cary Grant
10:23out on the dusty road,
10:26the crop duster going back and forth seems so innocent,
10:30but it's set up perfectly because it becomes the instrument
10:33of what could be his death.
10:35And I think so often in noir,
10:38in a lot of classic thriller films,
10:40you always have the discovery scene,
10:43where the plot and the resolution of it
10:46has to be explained through dialogue.
10:48That doesn't happen so much in Hitchcock.
10:51It's in the action,
10:53in the physical, you know, maneuvering of objects.
11:03Toward the end of the film,
11:04when Claude Rains has come down the staircase with the key,
11:08and then he kind of discovers the subterfuge.
11:12There are a lot of little cuts in there,
11:14the shards of the glass,
11:16the label on the wine bottles.
11:19But in a way they become highly charged
11:22because they're tied in to the cuts of him,
11:25very tight close-ups of him,
11:27as he is putting the pieces together of what has happened
11:31and becomes very emotional.
11:33And that is pure Hitchcock, I think.
11:47The whole sequence,
11:49tracking Ingrid Bergman stealing the key...
11:52I just hope that nothing will happen to give him any fault...
11:55The key, it almost comes to life.
11:57It's a dramatic element.
11:58And the key shot down into her hand from a high-angle crane shot
12:09is one of the most famous shots in Hitchcock's films,
12:13with good reason,
12:15because it was very difficult to execute technically,
12:18which is why you don't see a shot that ambitious very often.
12:21Today, basically all cameras, whether they're film or digital cameras,
12:26are essentially reflex cameras.
12:28What we see when we look through the eyepiece is what we get.
12:36The older cameras had a viewfinder that you framed your shot in,
12:40but that is not what the camera is actually seeing.
12:42You would set up a shot looking through the lens,
12:45but when you actually did the shot,
12:48you had to rack the camera over
12:50so that the film itself lined up with the lens,
12:54but you couldn't see through the lens.
12:56It was black at that point.
12:57So the way you determined the composition
13:00was there was a side finder.
13:02The difference between what the lens actually saw
13:05and what the operator saw through the side finder
13:09was called parallax.
13:11When the object that you're photographing is far away,
13:15the side finder would kind of move in closer to the lens,
13:19so that at a distance there was very little disparity
13:23between what the lens saw and what the side finder saw.
13:27As you moved in close,
13:29the side finder would displace more to the side,
13:32and so it became more and more awkward
13:35to actually see what you were getting,
13:37and the operator could only determine sometimes
13:40whether he had the accurate composition at the end of the shot.
13:46When the director yelled, cut, nobody would move.
13:50The camera would be racked over into the viewing position.
13:53The operator would look at the lens and decide
13:56whether the shot was A, properly composed,
13:59and whether it was in focus.
14:01Now that was not such a big problem
14:04when the camera was dollying on the floor
14:07because the camera assistant for focus
14:09could set marks on the floor determining the distance
14:13and rack the camera lens appropriately.
14:15When you're on a crane floating in the air,
14:18it's much more difficult.
14:20So this great shot starting at the top of the staircase
14:24and going down into the extreme close-up
14:27of the key in Bergman's hand,
14:30most of the camera move down happens
14:32in this sort of nether space that is kind of undefined.
14:37So what happened in this shot,
14:39as you get close to her hand,
14:42she gets pushed to the extreme right side of the frame,
14:45and the entire left side of the frame is empty space.
14:49As you get right to the end of the shot,
14:51she comes back into the center
14:53because the camera operator knew
14:54what the final composition should look like.
14:57But you'll notice if you look at the shot carefully,
14:59eight or ten frames right before the camera stops,
15:02there's a little buzz in the focus.
15:04The camera operator would not have been able to know that.
15:07And that is a very common thing you see with crane shots
15:10in this pre-reflex camera era.
15:14I don't think it was just a bravura shot.
15:17I think it was part of the whole visual design
15:21that Hitchcock has in his films
15:24about how to use different kinds of shots
15:26to create different kinds of emotional moments.
15:33How am I doing?
15:35Not bad.
15:37Scared?
15:39No.
15:40No.
15:41No, you're not scared of anything.
15:43Not too much.
15:45Hitchcock did not like to go on location,
15:48and he liked things to be done in the studio.
15:52There are practical reasons
15:54why you might want to use rear projection,
15:56especially in that studio era
15:58where equipment was so heavy
16:00and so difficult to transport over distances,
16:03especially, like, going to South America in Rio.
16:06So, shooting, you know, rear process,
16:11not only might have been a budget factor,
16:14but, of course, it was a comfort factor.
16:16Also, he had such, you know, complete control there.
16:19And part of that control is that by using process plates,
16:23he would be able to control the style a lot more.
16:27He wasn't prey to all the vicissitudes that happen
16:31when you're out on the street.
16:33The French New Wave films embraced the chaos of the street
16:36and the lack of control of the street.
16:38When I became a cinematographer
16:51after years as an assistant and operator,
16:54I actually used some rear projection,
16:56and it required a very large stage
16:59because we had to have your set in the foreground.
17:02Then you had a big screen behind the actors
17:05that would contain the projected plate.
17:08And then behind that,
17:09because the screen was essentially translucent,
17:12you had a projector at the other end of the stage
17:15that was projecting from behind the process plate.
17:19So, it could not be done on a small stage.
17:23Greg Toland is said to have shot the process plates
17:29in Rio de Janeiro.
17:31Although he's uncredited,
17:33and these are the plates we see in downtown
17:36when Cary Grant and Ingrid Bergman are meeting
17:39in the park on the bench and so forth,
17:42Hitchcock used plates all the way through his career.
17:46And they were very effective in black and white films
17:51because of the kind of abstraction of the black and white.
17:55But when you got to the color era,
17:57you know, in his color movies,
17:59I think not only did he become less technically sort of concerned about the plates,
18:04but the color became more difficult to control.
18:07And you'd have a color disparity between the plates
18:09and the color temperature of the plates and the foreground action.
18:13I don't think he was concerned with it at that time.
18:15As a matter of fact, you could almost make a case that given Hitchcock's predilection for technique,
18:23that having the plates themselves not being convincing
18:29was actually part of the artifice of the whole style that he used in film.
18:33And if you look carefully at the park scenes and especially the cafe scenes in Notorious,
18:39the plates really look squirrely.
18:42Not technically, but in terms of the focus.
18:45There seems to be very little real-life correspondence
18:49for what I know as a cinematographer,
18:52between the focus on the actors
18:55and how we would expect the background to fall out of focus.
18:59Why don't you give that copper's brain of yours a rest?
19:04Every time you look at me, I can see it running over its slogans.
19:07Once a crook, always a crook.
19:09Once a tramp, always a tramp.
19:11Go on.
19:14Now, whether Tetzloff and Hitchcock actually had the projector on the RP plate
19:22thrown more out of focus to make it more abstract, I'm not sure.
19:26But I've always felt that there was very little sense in Hitchcock films
19:31all the way through that there was an attempt to create an illusion of real space
19:37and of real depth of field in his processed plates
19:42where other filmmakers really tried to make them convincing.
19:45I think it was just part of Hitchcock's maybe perversity
19:48that he just either didn't care
19:50or he wanted the audience to be so invested
19:54in the emotional life of the actors
19:57that he wanted the background to be out of focus.
20:00I told you, that's the assignment.
20:02Well, now, don't get sordid.
20:05I'm only fishing for a little bird call from my dream man.
20:11Another element to his style, he liked to kind of reprise or recall images
20:18or stylistic conceits that he had established earlier in the film.
20:25When Ingrid Bergman first arrives at Claude Raine's house,
20:30there's that classic Hitchcock establishing shot
20:33that is a composite shot of the car driving up the little winding road at night and stopping.
20:39And in the deep background, we see the moon on the water.
20:42It's a complete artifice shot, but it's beautifully done.
20:46The camera is on the driver's side, and we're looking through the car.
20:51She gets out, and she's blocked temporarily standing up.
20:55The camera rooms up on the dolly, comes up above the car,
21:00and we see her start to walk into the house up the stairs.
21:04So it was this little lift from the car up into revealing the house.
21:09At the end of the film, when Cary Grant is helping her come down the stairs,
21:16we're on a crane, and we follow them from the door,
21:19pulling back on the crane down the steps.
21:22And as they get to the car, the camera booms down,
21:26repeating in the opposite direction that move when she first arrived at the house.
21:31So it's an inversion, and we look through the car again from the driver's side,
21:36and she leaves the house from the way the camera moved when she first arrived.
21:42It creates a kind of subliminal imprint.
21:46We associate Hitchcock's films almost from the very beginning
21:50with a kind of meticulous sense of planned choreography of images and of camera.
21:57And when we see a specific camera move tied into an arrival or a departure
22:05or something like that from the beginning of the film to the end of the film,
22:09I think there is a sense of kind of some sort of emotional recall.
22:14Alex, will you come in, please? I wish to talk to you.
22:19I'm attracted to seeing Notorious over and over again because it is not a singular style movie.
22:26It embodies the glamorous and the sheen elements of classic Hollywood lighting
22:33with a kind of darker edge.
22:35And one of the things I think that makes Notorious stand out is the sheer humanity of it,
22:41the sense of people trapped and not able to reveal themselves in a very unusual love story.
23:11I mean, its an incredible reporting that if this between the characters is constructed,
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