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00:00El Nocturioso
00:09El Notorioso
00:12El Nocturioso
00:16El Nocturioso
00:19El Nocturioso
00:22El Nocturioso
00:24El Nocturioso
00:25La película es la que le preferir de todos los blancos,
00:28Es probablemente la imagen que yo prefiero de todos los blancos y blancos.
00:32Es la quintessence de Hitchcock.
00:36Es una línea muy pura.
00:40Y la construcción del escenario es formidable.
00:44Es decir, el máximo efecto con el mínimo de elementos.
00:58Si te gusta el tipo de cosas que me gusta...
01:08...el tipo de expresión...
01:14...sexual lines running through it,
01:19...underneath el thriller.
01:21Es como un niño.
01:23Es lo que he mirado todo mi vida.
01:27Once upon a time, in 1946, Alfred Hitchcock made Notorious,
01:32...known in France as Les Enchaînés,
01:34...a love story woven into a spy drama.
01:37World War II is over.
01:39In a court in Florida, a Nazi spy is sent to prison.
01:43His daughter, Alicia, played by Ingrid Bergman, has become an alcoholic.
01:47She is recruited by an American Secret Service agent, Devlin, played by Cary Grant.
01:52Her mission is to infiltrate a group of Nazis who have fled to Rio, among them Alex Sebastian, an industrialist working for IG Farben, who is played by Claude Rains.
02:04They are suspected of dealing in uranium, which they need to produce an atom bomb.
02:09Devlin and Alicia fall in love, but the American Secret Service force her to marry Alex Sebastian.
02:16The lovesick Nazi discovers Alicia's ploy.
02:19Urged on by his domineering mother, he poisons Alicia.
02:23Devlin saves her at the last minute.
02:26The love story relationship involves this Secret Service man really, in a way, prostituting the woman he loves, so that more could be learned about the Nazi plot.
02:45And she understands this, but she knows she's being used, and it brings a hostility into the love story that I think was very striking when the film came out.
03:03Very new, and still looks special.
03:07I suppose you knew about this pretty little job of mine all the time.
03:12No, I only just found out about it.
03:16Did you say anything?
03:18I mean that maybe I wasn't the girl for such shenanigans.
03:23I figured that was up to you, if you'd care to back out.
03:28I suppose you told them Alicia Huberman will have this Sebastian eating out of her hand in a couple of weeks. She's good at that, always was.
03:34I didn't say anything.
03:39Notorious opens with the trial of a Nazi spy.
03:43The scene takes place in April 1946, evidence that the threat persisted after the war.
03:49In 1939, American fascists held a rally in New York to show their support of Hitler.
03:55But the Japanese bombing of Pearl Harbor in December 1941 pushed America into the war.
04:08Shortly afterwards, the FBI put on trial 33 spies found working for Germany on American soil.
04:16When Hitchcock began work on the script of Notorious at the end of 1944, World War II was not yet over.
04:30In Britain, where he was born, Hitchcock had already made four films dealing with the rise of Hitler.
04:42Among them, The Lady Vanishes.
04:45In Hollywood, he followed them with three films that were all strongly anti-Nazi.
04:50Foreign Correspondent, Saboteur and Lifeboat.
04:57Hitchcock had been thriving in the English film industry, making comedy thrillers.
05:08Very tight, very cheap films by American standards.
05:12Suspenseful, but with that Hitchcockian air of comedy in them.
05:17Very, very well made films, very tightly controlled films by the director.
05:24And Hitchcock, who had begun as a graphic artist, that was his sort of, his training, was a visualizer.
05:32He was one of the great directors of all time, I think, at visualizing shots.
05:38The medium of pure cinema is what I believe in.
05:43The assembly of pieces of film to create fright is the essential part of my job.
05:51Just as much as a painter would, by putting certain colors together, create evil on canvas.
06:03My grandfather was known for his just extraordinary imagination.
06:07And I don't know, you know, you could say he was pretty much a loner as a child.
06:12And he became very involved and loved the movies and loved going to the movies.
06:17So, you know, you kind of wonder if all that, because he was alone so much, sort of fueled the imagination for him.
06:26But his imagination was incredible.
06:28And his wit and sense of humor were so quick that, you know, some of that I'm sure is just, you're born with.
06:36But I don't know, I think a lot of it was just his early childhood, maybe, and his creativity for just being by himself a lot.
06:48You always pick very beautiful women for your pictures.
06:51Were you a ladies man or were you a shy chappy?
06:54I was a loner.
06:55You were a loner.
06:57In 1939, Hitchcock arrived in Hollywood with his wife and collaborator Alma Revel.
07:03He was 40 years old, with already 24 films to his credit.
07:08David O. Selznick, the producer of Gone with the Wind, had offered him a contract, as he'd also done for Ingrid Bergman, a 23-year-old Swedish actress whose mother was German.
07:18Selznick suggested changing her name to something more American, but she refused.
07:23Rebecca, Hitchcock's first American film, won the Oscar for Best Film of the Year.
07:30His next collaboration with Selznick was on a film about psychoanalysis, Spellbound, with Ingrid Bergman.
07:38The script was by Ben Hecht, a New York Jew, a successful dramatist, and one of the most famous Hollywood screenwriters.
07:45His best-known work included Howard Hawke's Scarface and William Wyler's film of Wuthering Heights.
07:51He and Hitchcock wrote Notorious together.
07:55Ben Hecht was a fervent Zionist.
08:01He was very much aware of what was going on in Europe during the war, in terms of the genocide.
08:10There's a memo where David Selznick said,
08:16had lunch today with Ben Hecht and two million dead Jews,
08:20because Hecht couldn't shut up about it.
08:23While people in Hollywood were somewhat inclined to steer away from it, certainly Selznick.
08:30And Hecht brought all of that into the writing of Notorious.
08:40David O. Selznick had bought the rights to a newspaper serial from the 1920s,
08:44in which an actress is persuaded to sleep with an enemy spy.
08:49This story was indirectly inspired by a real-life French woman, Marthe Richard,
08:54who during the First World War was obliged to use her charms for the benefit of her country.
09:01I think Hitchcock is part of the history of Marthe Richard.
09:05He told to Men Hecht that there was a spy during the 14th war,
09:12and who was a bitch.
09:19So it's part of that.
09:21What's funny is that Marthe Richard, then,
09:24she closed the hell.
09:26She didn't want to work.
09:33Anyway, it's always said that...
09:36No, I'm formal.
09:38According to Marthe Richard,
09:40I hold the horse's head.
09:47When the United States joined the war at the end of 1941,
09:50the American government used Fort Hunt, south of Washington,
09:54to interrogate more than 3,000 German prisoners.
09:57Among them were many scientists and experts in ballistics and atomic research.
10:04Warned by Einstein about progress made by the Nazis in experimenting with nuclear reactions,
10:09the American leaders wanted to know just how far they had progressed in creating weapons of mass destruction.
10:20From 1942 onwards, American, British and Canadian scientists worked together in New Mexico on the Manhattan Project.
10:27By the beginning of 1945, three nuclear bombs were ready.
10:33The first one was tested in July in the American desert.
10:37The atomic bomb was one of the great secrets of all time, but it wasn't completely secret.
10:43I think people had heard about some project being in development.
10:47And this is not just the matter of a high secret being leaked.
10:50Part of it is I think it was people's worst fear.
10:54And there were certainly reports about the project to create this super bomb that would serve the United States
11:01and the allied interests that would end the war and would be a deterrent to future wars.
11:05Hecht who had his ears to the ground and Hecht who was very much involved with keeping up with the war effort.
11:12And I think he certainly had his sources in Washington.
11:15Nobody has ever accused Ben Hecht of not being in the know.
11:18It's quite likely that it was Hecht who came across this.
11:22But Hitchcock and Hecht collaborated on building it into the film.
11:27And I thought of the idea they were collecting samples of uranium-235 from which the future atom bomb would be made.
11:54The vintage sand.
11:57We've got to leave things as we found them.
12:01Help me find a bottle of wine with the same label as these others.
12:03But that isn't really sand, is it?
12:05I think it's some kind of metal ore.
12:11Ben Hecht and I went over to see...
12:14Ben Hecht and I went over to see...
12:16...at Caltech, which is the big institute of technology of California, at Pasadena.
12:26...to meet Dr. Milliken.
12:30At that time the leading scientist in America.
12:35And we were shown into his office.
12:38Our first question was, Dr. Milliken, how big would an atom bomb be?
12:47And he looked and said, do you want to get arrested?
12:51Do you want to get me arrested?
12:53Ben And then he spent an hour telling us how impossible it would be.
12:58He loved telling the story that after that, he was followed by the FBI.
13:08He, you know, and he knows he was on the FBI's list as a potential, you know, they didn't know spy or whatever.
13:16But to him that was very exciting.
13:22In August 1945, the first atom bomb was dropped in Hiroshima.
13:30The nuclear apocalypse did not provoke the expected reaction.
13:33Japan surrendered only after a second bomb devastated Nagasaki.
13:37As the Allied forces invaded the territories occupied by the Nazis, they discovered the true horror of the concentration camps.
13:54In Poland, the Red Army liberated camps built for the extermination of Jews and Gypsies.
14:06In the summer of 1945, Hitchcock travelled to London to supervise the editing of a film called Memory of the Camps.
14:13It consisted of material already shot by the Allied armies.
14:18The documentary was specifically intended for showing to the German public.
14:22The things in this camp are beyond describing.
14:26When you actually see them for yourself, you know what you're fighting for here.
14:30Pictured in the paper, cannot describe it at all.
14:33He specifically wanted to put these bits and pieces of newsreels taken by various on the spot documentary photographers.
14:41He wanted to put them together in a way that people would not only be shocked by them, but in a way that they would believe them.
14:48He wanted to use long takes.
14:50He wanted to create a sense of the realism of these things so that they would be burned in people's minds.
14:59He said all his life he was tortured by what he saw, but he didn't regret doing it. It was so important.
15:14And he felt, and Sidney Bernstein, who was heading the British Office of War Information, wanted him to do it.
15:23And they thought that if Hitchcock's name was on it, it would mean that people would really see it.
15:29In the summer of 1945, Hitchcock worked for a month on memory of the camps.
15:37Back in Hollywood, he learned that the film would never be shown.
15:41The British government felt it would demoralize Germans in the west of the country, especially as the East was occupied by the Red Army.
15:47A version of the film was finally shown on television in the 1980s, in the USA, Britain and France, after Hitchcock's death.
16:00I think the impact of seeing the death camp footage on a sensitive man like Hitchcock, looking at reel after reel after reel of it, and then going back and shooting Notorious shows up in another way.
16:16And this could just be my fancy, but the wonderful photographic style of Notorious is very dark.
16:31There is a lustrous darkness to this movie, which is the first thing one thinks of when one thinks of Notorious.
16:41And I think that darkness is something that the director just carried back in his heart from his experience of working on Memory of the Camps.
16:51I think the Memory of the Camps is in the film, but it's in the film everywhere.
16:57In spite of constant revisions to the script of Notorious, David O. Selznick remained unconvinced by the idea of Nazis developing an atom bomb.
17:05He was also seriously distracted by his own super-production, Duel in the Sun, which was going well over budget.
17:12Selznick decided to sell Notorious to RKO Studios as a package, including Alfred Hitchcock, The Script, Ingrid Bergman and Cary Grant.
17:23Thanks to the deal, the British director won his artistic freedom.
17:30RKO specialised in well-crafted B-movies, shot in lustrous black and white.
17:36The studio's productions included the musical comedies of Fred and Ginger, as well as King Kong and Citizen Kane.
17:46Greg Toland, the cameraman responsible for the deep-focus photography in Orson Welles' film, shot location backdrops for Notorious in Rio.
17:56Hitchcock and his cast never left California.
18:00Mother said that he was different than working with other directors because of his camera move.
18:06Sometimes an actor had to walk from here to there.
18:10Sometimes actors, you start the morning by going to the set and you rehearse the scene.
18:16And often it's the actor that decides, OK, I'm sitting there and I'm walking over there.
18:21And the director might say, well, I would prefer if you go from here to there because the background is better.
18:26But you couldn't do that with Hitchcock because a lot of it was planned with the editing and the camera move.
18:31But Mother loved it.
18:46Feel better?
18:49What do you care how I feel?
18:52Everything is decided on paper.
18:55I do not improvise after the picture is finished or very much while the picture is being made.
19:07A little bit is permissible.
19:10But if you don't make your picture on paper ahead of time with all the desired effects,
19:16if you cannot visualize or hear, then this would be like a musician composing with a full orchestra in front of him.
19:25So he's got his blank music and saying, flute, give me a note, will you please?
19:30And the flute gives him, thank you very much, and he writes it down.
19:34There's the comparison.
19:36I think the film should be made on paper ahead of time.
19:39What I discovered working on Notorious and looking at the way it grew while it was being shot was that for Hitchcock the shooting of a film was not simply the recording of something that already existed in the form of script and storyboards.
20:01In fact, I never found any storyboards were notorious.
20:04The truth of the matter is that except for action sequences where they were needed, he rarely followed storyboards and often didn't have them.
20:13And that effect of precision comes from his having a brain approximately as complex as the computer platform for CGI work.
20:30And an incredible eye, which enabled him to put something on the canvas, erase it, go back, put something else three days later, then add something over here that would balance it and so on.
20:48That's the way Notorious was made.
20:50And the effect is of great precision, but the precision was in the result, not in the process.
20:56There's a shot on the plane going into Rio where Grant is sitting next to Bergman and she looks out the window to see Christ of Cordero and he's looking at her.
21:18And at that moment, an unguarded moment for Devlin, uncharacteristic of this very controlled guy, we see that he's falling in love.
21:27Yes, we are.
21:32And that was actually shot twice, it was shot, then he went and shot a rather cold scene between them in a restaurant in Rio.
21:55And then he realized he needed something to signal to people before that underneath his stern demeanor, Devlin is in love with Elsa.
22:07And so he went back and reshot the scene on the plane.
22:10And this was really Hitchcock's way of discovering the film he was making in the process of making it.
22:16And it's why it's one of the great Hitchcock films.
22:23Hitchcock said Notorious had the fewest mistakes, which is something Billy Wilder would always say about the apartment.
22:31And when a picture turned out really well, he wasn't likely to say it was a great success, although he did sometimes say it about shadow of a doubt, which was personally very dear to his heart.
22:44But he would speak about Spellbound and Notorious often in terms of Ingrid and what a joy it was to work with her and what a perfect actress and what a beautiful person outside and inside.
22:58Hitchcock used to be wonderful with me because he used to listen to all my arguments and you thought you'd had him. He didn't answer. Just sit there and listen and listen and listen. And you say, I have got him now. He's on my side now.
23:17And then when you finished, he said, I get your point. Now do exactly what I told you to do and fake it.
23:23Hitchcock was very clever and invented a love scene with a kiss that became famous in those days. But a kiss couldn't last more than two seconds, I think it was. It had to break.
23:45This is a very strange love I found.
23:48He couldn't be in a horizontal position, even with clothes on. And he invented this thing that they tried to cut, but he won because not one kiss was longer than two seconds, but there were so many of them, you see.
24:01When I don't love you, I'll let you know. You haven't said anything.
24:06Actions peeped out of the way.
24:09It's a lovely scene. They played it so well. And it's harder. I would imagine that that scene is harder than a long kiss because you have to have much more intimacy or friendship to do a kissing and nibbling and playing around when the other person, like two lovers really do.
24:27And they did that scene, but Hitchcock really did it because he wanted to piss off the censorship. And it turned out to be one of the, I think, one of the most tender and amusing, loving scene in films.
24:44I asked Hitchcock why he decided to do it in one shot. And he told me this elaborate story about being on a train once somewhere in Europe and watching a couple arm in arm walking in the fields.
25:03And, uh, at one point the young fellow stopped to urinate against a tree and, uh, his girl didn't let go of him, you know, looked down occasionally, see how he was doing and, uh, never let go.
25:22And I thought, there you are, you see, love cannot be interrupted, even by urinating. So I thought we'd do the whole thing in one shot.
25:32The fact that he was on a train when he saw that indicates a certain dolly shot.
25:37Hitchcock later said that in a shot like that or a scene like that, there are really three characters. There are the two people that are kissing and then there's the camera or the director watching this.
25:53Well, what is unusual there is that the stone face of the director has been digitally pasted onto the actor. That is the impassivity of the director watching the kiss and empathically participating in it.
26:14Because essentially the story of, uh, Notorious is contained in that shot. A man who's in love with a woman throws her into the arms of another man and watches while she marries him, makes love with him, and so on.
26:35Not literally watching them make love, but that's what Hitchcock is doing in the kissing scene.
26:41And, uh, this is a kind of, uh, primal scene for Hitchcock in both senses of the word, because it's the little, the little boy watching mother and daddy do it.
26:58It's a very complicated love story because Carrie has a great dichotomy of how he feels about her.
27:04And he's torn between wanting to believe that she's a whore and wanting to believe that she's not.
27:11Sort of tears him apart.
27:13It's not an uncommon emotion in men about women.
27:19Listen, you chalked up another boyfriend, that's all. No harm done.
27:23I hate you.
27:24There's no occasion to. You're doing good work.
27:26Number 10's out in front. Looks as if Sebastian knows how to pick him.
27:29Is that all you have to say to me?
27:31Dry your eyes, baby. It's out of character.
27:35Except keep on your toes. It's a tough job we're on.
27:38He's very cruel to her, and he keeps testing her. He keeps testing her to see what she'll do, and she doesn't want to be tested, really.
27:50I think it's unquestionably the darkest characterization of Cary Grant's career. I mean, I don't think he ever let himself get that dark again.
27:59Born in England, Cary Grant played in variety shows there before becoming one of the greatest Hollywood stars.
28:09Loved for his comic roles in Leo McCary's The Awful Truth and Howard Hawke's Bringing Up Baby.
28:16In Suspicion, made in 1941, Hitchcock revealed a disturbing ambiguity in Cary Grant's persona.
28:24Notorious continued to explore this aspect of his character.
28:28Cary Grant could do light comedy, but he could also do...
28:33...tough stuff, and this is a sort of perfect balance.
28:39Only someone who could do light comedy could have done the scene with the kiss.
28:43But, of course, at the same time, he's playing it with tremendous depth of feeling.
28:48So it's a brilliant juggling act.
28:51Grant and Hitchcock were both English.
28:54They understood each other.
28:56And I think one of the reasons Hitchcock was so fond of Grant was that he was the first American movie star to commit to do a Hitchcock picture.
29:07And the reason Hitchcock used to give for that was because Cary, being English, didn't look down his nose to crime melodramas, which have an accepted and praiseworthy place in English letters.
29:27Whereas in America, they're sort of thought of as common.
29:32I remember once I said to Cary Grant that I liked Notorious very much.
29:37And he said, oh yeah, that's the one Hitch threw to Ingrid.
29:40He always threw the picture to the girl if he could.
29:42So that was a very interesting remark.
29:45He always threw the picture to the woman if he could.
29:48The reason why in this role Mother excels is, first of all, if you're happy on a set and you feel comfortable, you're free.
29:59So she already worked with Hitchcock.
30:01She became friends with Hitchcock.
30:03She felt very comfortable.
30:04There was obvious chemistry with Cary Grant.
30:07And she could play what she had that I think is this combination of a strength and an incredible innocence.
30:19And that is the perfect combination for the role.
30:23And this role also offered that quality of being a little bit spunky and intelligent.
30:29But at the beginning, she's sort of a spoiled little child, you know, and then she's growing into being a woman.
30:35And this is what she, this is very much who she was.
30:38If you look at Bergman's career as a whole, she is, when young, this extraordinarily beautiful, lyrical, life-affirming force.
30:53And yet, her great performances are very often of women whose life is darkened by guilt, by anxiety, madness even.
31:08And the later film she made with Rossellini, when she left Hollywood,
31:13Rossellini saw that edge of guilt and darkness very well and exploited it.
31:18And this is a film in which she's a degraded character in a lot of ways, and she feels it.
31:24And the film rescues her.
31:27It's one of those Hitchcock films where rescue is the thrust.
31:31Although the rescuer is maybe not the ideally sympathetic rescuer you might like.
31:39He's got his own darkness.
31:41And if you think about the relationship those two characters are going to have after the film is over,
31:47it may not be the sweetest and tidiest of all time.
31:57On the 20th of November 1945, while Notorious was being filmed, the Nuremberg trials began.
32:04Twenty-five leading Nazis were tried for crimes against peace, war crimes and crimes against humanity.
32:11Other Nazis, such as Adolf Eichmann, who devised the final solution, and Joseph Mengele, the SS doctor based at Auschwitz, fled to South America, passing through Franco's Spain.
32:25This was a journey predicted by Hitchcock and Hecht in the screenplay of Notorious.
32:30Miss Hooperman?
32:34Yes.
32:35Please forgive me for keeping you waiting.
32:37Not at all.
32:38You resemble your father very much.
32:41I'm Alex's mother.
32:42I knew when I saw you.
32:44Alex has always admired you.
32:46Now at last I know why.
32:48The film has one of Hitchcock's great mother figures, and he specialised in them.
32:55And Psycho is the sort of locus classicus of this, but he had very ambiguous feelings over mothers.
33:06And the mother in Notorious is the mother to the villain, and she's extremely protective, even to the point of being crushing.
33:17And there are moments where you realise that this mother, who obviously loves her son in many ways,
33:25she's also in love with causes, the Nazi cause, so that she may have to destroy him too.
33:32As to the reason what lies behind Hitchcock's sense of motherhood, you have to wonder what it meant in terms of his own life.
33:44I don't think we have, we don't know enough about his own life, and he certainly didn't reveal it.
33:50But I think there's enough in the films for one to speculate that he had had a confused feeling about his motherhood.
34:01Yes, but a lot of people do.
34:05My great-grandmother, my grandfather's mother, was, I never knew her.
34:10She passed away before I was born.
34:12But she, from what we'd heard, was, he was very close to her, and she was a good mother, but she was a domineering personality.
34:20And you tend to see that in some of his movies, where, like in Notorious, the mother, Psycho, but, you know, obviously she was not like Psycho.
34:31And North by Northwest is also the mother who plays a big role in their life, sometimes not always the best thing in the world,
34:39but that, um, you listen to no matter what.
34:49If you pay attention to character smoking, it's a wonderful touch.
34:53And, uh, if you're alert to it, it becomes almost too telltale and too obvious.
34:59The bad guys and the characters, when they turn bad, like the Devlin character, when they pick up a cigarette, watch out.
35:06Now, Smoke, in a Hitchcock film, is a wonderful visual touch, and he uses it very, very effectively in this film.
35:14Of course, he does something very astucous, that I killed at death.
35:21He does something very astucous, it's to use these objects, these objects-signes,
35:29as an element of intrigue, not of the inside of the characters, but of intrigue.
35:35A partir du moment où le spectateur est habitué à ce que l'objet ait un rôle dans l'intrigue, un rôle souligné dans l'intrigue,
35:43il finit par comprendre que parfois, quand ça n'est pas dans l'intrigue, ça doit bien vouloir signifier quelque chose ailleurs.
35:50À l'heure.
35:51I'll wait in a minute.
35:53Darling, it's not that I don't trust you, when you're in love at my age, every man who looks at your woman is a menace.
35:56They forgive me for even talking about it.
35:59I'm very contrite.
36:02Darlene
36:04It's not that I don't trust you
36:09When you're in love at my age
36:11Every man who looks at your woman is a menace
36:12Forgive me for even talking about it
36:15I'm very contrived
36:29Really what he's doing in all his films
36:31Is teaching us how to look
36:33Shaping our gaze
36:35And he's teaching us to see things
36:39That are like
36:40They're like clues
36:42But they're more like incriminating elements
36:45And things that someone is guilty to possess
36:51Because they give away so much
36:53And he's wonderful at finding those things in natural
37:00Behavior
37:01And just exaggerating them a little bit
37:05I love his description of going into the key
37:09The key to the wine cellar
37:12They built an elaborate wooden crane
37:16In order to make the camera come down
37:19Down, down, down, down, down, down, down
37:21To that key in her hand
37:23And I asked him why he'd gone to such lengths
37:26To do that shot
37:28I mean, it could have been done a number of different ways
37:29You could just show a wide shot and cut in closer
37:32And then cut to the hand
37:33I mean, it could have been done very simply other ways
37:36But why did he do it that way?
37:38He said, well, that's a cinematic way of saying
37:41In this great party
37:43In this great hall with a lot of people
37:45A lot of hubbub
37:46The whole thing comes down to a small key in somebody's hand
37:53So it's a way of visually saying that
37:57It's like a paragraph in a story
38:01In one shot
38:03It's a model of filmmaking
38:05Storytelling in movies
38:07It's an exceptional shot
38:10Because it also, it gives you suspense
38:12Because the fact that the camera's moving
38:14Even though the audience perhaps isn't conscious
38:16They're aware that something's happening
38:19And they're being taken somewhere
38:20For a purpose
38:21One of the most essential things in a film
38:38Is visual clarity
38:40I think an audience should be given all the facts
38:45For example, if you take suspense
38:47Suspense can only be achieved
38:50By telling the audience as much as you can
38:52I don't deal in mystery
38:54I never make whodunits
38:56No
38:56Because they're intellectual exercises
38:58You're just wondering
39:00You're not emoting
39:01Someone's coming
39:04It's Alex, he's seen us
39:06Wait a minute
39:08I'm going to kiss you
39:09No, he don't, I think we
39:10That's what I wanted to think
39:11You'd better stay upstairs, Joseph
39:18If they may need you
39:19Yes, sir
39:20Push me away
39:37I'm sorry to intrude on this tender scene
39:44Hitchcock builds up suspense
39:46On an emotional level
39:47Not bombs, but poison
39:49Not bombs, but the complexity of their relationship
39:53Will they have a breakthrough?
39:56Will he be able to say, I love you?
39:58Will she be able to transform herself
40:00From the party girl
40:01To the true-hearted, complete woman
40:06That we know she has it in her to be?
40:08That's where the suspense is
40:10And Notorious is a masterpiece
40:11Of that kind of emotional suspense
40:13No room, Sebastian
40:15Oh, but you must take me there
40:16Watch you, Rick
40:17It's your headache
40:17Please take me, please
40:19Please, please
40:20There is no telephone in her room
40:24To call the hospital
40:25Alex
40:27Will you come in, please?
40:29I wish to talk to you
40:30The real thing is why Claude Reigns decided to play it sympathetically
40:41In other words, he was the villain
40:43He was a Nazi
40:44And he chose to play it on this very
40:47You know, on a level that you wouldn't have expected
40:51You'd expect him to play it as a sort of horrible fellow
40:54But actually he was very sympathetic
40:55And so that when, as it were,
40:58Ingrid Bergman is betraying him
41:00Or exposing him or whatever
41:01You feel rather sorry for him
41:03And when he has to go and face his terrible mother
41:05And those dreadful people at the end
41:07It upsets you
41:09So it's much more
41:11It's more to do with emotion
41:15Than you would expect a film like that to be about
41:18The film ends in a way that we want to believe
41:21Is the triumph of love
41:23The man is transformed by love
41:25The woman is redeemed by love
41:27And I write off presumably happily ever after
41:30But there are a couple of things that maybe undermine that
41:33First of all, there's the 105 minutes of the film
41:36That come before that
41:37And those crises and those difficult moments
41:40Are absolutely unforgettable
41:41And then there's the reminder, of course
41:43That the very ending of the film
41:44Is, let's say, that nasty business
41:48Of Claude Reigns walking back into the house
41:51And that's kind of one of the byproducts
41:53Of the triumph of love
41:54Facing certain extinction
41:57At the hands of his erstwhile friends
41:59So it's quite a problematic view of love
42:01A triumphant love story, to be sure
42:03But a problematic analysis of love, also
42:06Notorious was released in the USA in August 1946
42:15It was one of Hitchcock's greatest financial successes
42:18The film was shown at the Cannes Festival in September 1946
42:23The revived festival championed filmmakers on the winning side of the war
42:28From Roberto Rossellini to David Lean
42:30And included films by René Clement
42:32Billy Wilder and Alfred Hitchcock
42:35Notorious failed to win any prizes
42:38When Notorious opened in France in 1948
42:42The publicity claimed it featured
42:44The longest kiss in the history of cinema
42:47Most critics only regarded the film
42:49As a fine piece of entertainment
42:51I saw the film for the first time
42:56When it was released
42:57And I was completely exhausted
43:00But really completely exhausted
43:02And when it was 17 years old
43:06And we wanted to do cinema
43:07We were told
43:09We were told
43:10Que the con were these critiques
43:12They didn't understand
43:13They didn't understand
43:13I understand everything
43:14And I understand everything
43:15And fortunately
43:15I found people like me
43:20Truffaut, Rivette, all of that
43:22They were to my opinion
43:23So we ended up with
43:25We ended up with
43:26It's a glutinous
43:26Hitchcock
43:29For a lot of people
43:30It was a kind of catalyseur
43:33For the people of the Nouvelle Vague
43:35They were really part of the people
43:37Who were the pillars
43:38René Hitchcock
43:40And Hawks
43:41Well that was a great thing
43:44About the French
43:45They
43:46They didn't allow a subject matter
43:50A genre subject matter
43:51To deflect them
43:53From seeing what was really going on
43:55In a movie
43:56And Hitchcock had impeccable technique
43:59But he also had something going on
44:02Underneath
44:03And you don't see a movie
44:06With that kind of
44:07Dark relationship
44:09Very often
44:10Even serious
44:12Quote, quote
44:13Serious films
44:14Don't go that deeply
44:17Into a kind of
44:19Sadomasochistic relationship
44:20Really
44:21Notorious had not yet been released
44:24When on the 5th of March 1946
44:26Churchill declared
44:27That from Stettin in the Baltic
44:29To Trieste in the Adriatic
44:31An Iron Curtain
44:32Has descended across the continent
44:34The two new superpowers
44:36The United States
44:37And Soviet Russia
44:38Were soon engaged
44:39In the Cold War
44:40It lasted
44:41Forty years
44:43In this balance of terror
44:45What mattered
44:46Was controlling the most
44:47Sophisticated weapons available
44:48German scientists
44:50Found new employers
44:51In both the West
44:52And the East
44:53Werner von Braun
44:55Creator of the V-1
44:56And V-2 rockets
44:57Which were so feared
44:58In England
44:58Became the leading figure
45:00In the U.S. space program
45:01NASA
45:02We go through the war
45:14Fighting the good fight
45:16And we believe in heroes
45:20We believe in the justice
45:22Of the war
45:22But then very shortly
45:24After the war
45:25The discovery of the camps
45:28The demonstration
45:32Of what the bomb
45:33Is going to do
45:34To change everything
45:35They teach us
45:37That there is a kind of
45:39Deeper evil in mankind
45:42Or a more foreboding quality
45:45That will be much harder
45:47To escape
45:48And deal with
45:50Than a just war
45:52Life has suddenly
45:54Got a lot more complicated
45:55I think the political view
45:58Of this film
45:58As much as in some respects
46:01It's a propagandistic film
46:03Supporting the war effort
46:04I think it's quite critical
46:06And quite controversial
46:08He's certainly critical
46:10Of the American government
46:12The forces of good
46:13That are basically choosing
46:16As one of their main weapons
46:17Prostituting a young woman
46:20We think of the Nazis
46:22As being the fascists
46:23Well, the Nazis had some comfort
46:26And they had some allies
46:28Even among the allies
46:29Now, certainly Hitchcock
46:31Is not trying to suggest
46:32Anything truly nefarious
46:35About the Washington officials
46:37They are not Nazis
46:38To be sure
46:39But I think one of the most
46:41Unlikeable characters
46:43Is the representative
46:44Of Washington
46:46The figure of Prescott
46:47And I think Hitchcock
46:49Had to be quite subtle
46:51In conveying that
46:52Because the censors
46:53Would not like that
46:53Claude Rains
46:57Works for the chemical company
46:59For IG Farben
47:00In the film
47:01Hitler
47:03Built Auschwitz
47:04For IG Farben
47:06It was essentially
47:07A slave labor camp
47:08For the use of IG Farben
47:11And IG Farben
47:16Manufactured
47:17A Zyklon B
47:18Which was the gas
47:19That was used
47:20To gas people
47:22In the death camps
47:23Bad company
47:25Sebastian's house
47:26Is a cover-up
47:27For whatever this Farben
47:28Group's up to
47:29Here in Rio
47:29We've got to get
47:30Miss Huberman
47:31Inside that house
47:31And find out
47:32What's going on there
47:32Something strange
47:34Happened at the end
47:35Of the war
47:35And you can see this
47:37In a recent film
47:38Of Steven Soderberg
47:40The Good German
47:41There was a
47:42A new
47:44Enemy
47:45Russia
47:46And suddenly
47:48Germany
47:49IG Farben
47:51Franco
47:53All of these
47:56Old enemies
47:56Were suddenly
47:57A bulwark
47:58Against communism
47:59And so
48:02At some point
48:03In probably
48:05The late 40s
48:06Early 50s
48:07The Farben
48:08References
48:08Got cut out
48:09Of the film
48:09And were only
48:10Recently restored
48:11By Disney
48:12It's in the film
48:13Now
48:13So
48:14The fate of
48:15Notorious
48:16Really is typical
48:18Of what happened
48:19In the transition
48:20From World War II
48:21Into the Cold War
48:23In the 1960s
48:28Hitchcock
48:29Made two films
48:30About the Cold War
48:31Torn Curtain
48:32And Topaz
48:33But the subject
48:34Of the conflict
48:35Between the two powers
48:36Proved uninspiring
48:37Neither film
48:38Had the vitality
48:39Or complexity
48:40Of Notorious
48:41Hitchcock
48:43Was reunited
48:44With Ingrid Bergman
48:45In Under Capricorn
48:46And with Cary Grant
48:48In To Catch a Thief
48:49And North by Northwest
48:50In 1955
48:53Now the most famous
48:54Film director
48:55In the world
48:56He was approached
48:57By the rising medium
48:58Of television
48:58To produce a series
48:59Called Alfred Hitchcock Presents
49:01There were 265 episodes
49:0417 of them
49:06Directed by Hitchcock himself
49:07His last film
49:10Was Family Plot
49:11Made in 1976
49:12He died
49:14In 1980
49:15In 1979
49:18My grandfather
49:19Was given
49:20The Lifetime Achievement Award
49:21By the American Film Institute
49:23And it was
49:24It was a bittersweet night
49:26It was the end
49:27Of his career
49:28Pretty much the end
49:29Of his life almost
49:30And Ingrid Bergman
49:32Was the mistress
49:34Of ceremonies for it
49:35So they had
49:36The different tributes
49:37By everyone
49:38Who had worked with him
49:39And at the very end
49:40She
49:41And it was so touching
49:43She
49:43Thanked everyone
49:45For coming
49:46And she said
49:47She had one more
49:48Thing to tell
49:49And anyone
49:50Who was close
49:50To my grandfather
49:51Called him Hitch
49:52Or Hitchy
49:53And she said
49:54Hitch
49:54I know you remember
49:56Obviously the key
49:57Of Notorious
49:58Well you know what
50:00Carrie stole that key
50:02After the scene
50:03Yes and he kept it
50:05He kept it for about
50:06Ten years
50:07And one day
50:08He put it in my hand
50:09And he said
50:10I've kept this long enough
50:11Now it's for you
50:12For good luck
50:13I have kept it
50:15For twenty years
50:16And in this
50:17Very same hand
50:18There is the key
50:20And now she wanted
50:24To give it
50:24To Hitch
50:26To give him
50:28Many years
50:28Of good luck
50:29And she gave him
50:30The key
50:30And someone said
50:31To Carrie Grant
50:32Is that really the key
50:34And he went
50:34Shrugging his shoulders
50:37You have taken a particular interest
50:55In taking the framework
51:02Of a police story
51:03In filming
51:04Moral
51:08Sure let's try
51:10Oui ça c'est vrai
51:11Yeah
51:11Bah ça sera ma conclusion
51:16That will be my conclusion
51:34cámara
51:53Come on
51:53Let's do this
51:54Well
51:55This
51:55Yeah
51:57Come on
51:58Come on
51:59You
51:59Come on
52:00You
52:01Gracias.
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