Notorious (1946)
Directed by Alfred Hitchcock
In order to help bring Nazis to justice, U.S. government agent T.R. Devlin recruits Alicia Huberman, the American daughter of a convicted German war criminal, as a spy. As they begin to fall for one another, Alicia is instructed to win the affections of Alexander Sebastian, a Nazi hiding out in Brazil. When Sebastian becomes serious about his relationship with Alicia, the stakes get higher, and Devlin must watch her slip further undercover.
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What critics compared Notorious to
The only thing about it that speaks to Hollywood is its mood, a glorious homage to the classic films of the 1940s, particularly espionage thrillers like Hitchcock's "Notorious."
An erotic, violent melodrama, filled with echoes of such Hitchcock movies as "Notorious" and "Suspicion," Lee's movie is composed of one highly flammable ingredient after another.
A spy-who-loved-me story reminiscent of Notorious (had Hitchcock added S&M sex), the NC-17 Lust is lush and seductive.
Several Hitchcock references are made during the movie, and the before long it becomes obvious that Lust, Caution�s natural touchstone is his Notorious, which definitively covered similar, sexually embroiled ground.
It’s a movie that bows deeply to such classic spy thrillers as Alfred Hitchcock’s Notorious and a dozen other Second World War-time films, including Casablanca.
Think Cary Grant and Ingrid Bergman in Hitchcock’s Notorious.
Or the stars of Notorious, shot by Alfred Hitchcock in 1946 in such enveloping close-up that all else—the Nazis, the uranium ore MacGuffin—was forgotten.
Shot in velvety-rich classic Hollywood style from an original – and yet so very unoriginal – script by Steven Knight (Pawn Sacrifice), Allied comes off like a highlight reel that mimics the look and feel of a whole school of great films, from Casablanca to Hitchcock's Suspicion and Notorious.
The story, written by Steven Knight and apparently based on some real wartime derring-do, has overtones of Hitchcock’s Notorious and Suspicion, as well as Casablanca, and even Charade.
Instead, we get a play-it-safe thriller with a plot that recalls that of Alfred Hitchcock’s Notorious and Suspicion yet fails to muster a fraction of either's suspense.
Twice in the course of the film, a character watches bits of "Notorious" on TV, which seems odd — like someone dug up the wrong Cary Grant movie.
Twice we see scenes from Alfred Hitchcock's Notorious playing on a TV.
As the final moments wrap up, one canât help but contemplate the film thatâs repeatedly referenced as an icon of romance throughout The Lake House, Alfred Hitchcockâs masterpiece Notorious.
Twice during the new film The Lake House, characters watch Alfred Hitchcock's Notorious (1946) on television, specifically the famous "kissing" scene.
Indeed, there are distinct echoes of Alfred Hitchcock’s “Notorious” here, but del Toro only takes what he needs to tell his own story.
"Crimson Peak" is reminiscent of Hitchcock's "Notorious" in more ways than one (although "Rebecca" is also a clear influence).
If Crimson Peak has a patron saint, it’s Alfred Hitchcock, with Rebecca, Notorious and Suspicion supplying the oxygen from which the story draws life.
With Crimson Peak, he soullessly "borrows" the central relational moments from Notorious: the poisoned tea, the looming chairs, the threatening relative, an extended gag with a key from a key chain that goes missing only to reappear at the most inopportune moment.
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There are echoes of Ingrid Bergman in this performance – not only from Gaslight but from Notorious.
Bit by bit, however, Whannell attentively cranks up the tension, and his principal vehicle for that is Cecilia, whose moments of lucidity and positive intent become increasingly dominated by degrees of disorientation and general out-of-it-ness in ways that remind of some Hitchcock heroines, notably Ingrid Bergman in Notorious .
Raimi beats us over the head with that theme often, but as a cartoon this is perfectly acceptable—this isn't exactly in the same territory as Notorious , but I can imagine the Master of Suspense enjoying Raimi's work here.
Director Francis Lawrence, along with cinematographer Jo Willems and editor Alan Edward Bell, fashions a languid atmosphere that might cause you to recall the one Hitchcock managed in classics like “Notorious,” and they are abetted in their efforts by a surprisingly lush and evocative score by James Newton Howard, whose shimmering strings have a touch of the romanticism Bernard Herrmann brought to films like “Vertigo.”
Specifically, a good chunk of this movie owes a large debt to Notorious, from the relationship between a European national and an American spy, the question of who’s on which side, and the 1946 film’s deliciously wicked final moments.
It's the poisoned glass from Notorious (almost better, because a purse is the more traditionally vulgar cinematic analog to a vagina 3 )--and, like the best of Argento's early "supernatural" pictures, Bava's film reinterprets Hitchcock's themes and obsessions with an angry, urgent, just-this-side-of-alien ugliness.
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Suspiria less dreamily recalls Vertigo in its segmentation of women and its colour suffusions; Psycho, in a fixation on bird imagery, first act monetary concerns, and a swirl of vermouth down the drain; Rebecca in its monstrous maid (Olga (Barbar Magnolfi)) and torching of an analogous Manderly; and Suspicion and Notorious in the slow ascents and lingering reveals of doctored libation.
If Phantom Thread is Anderson’s Hitchcock film—Notorious and Suspicion, two other tales of perilous marriage, have also been mentioned by critics—it is an example of what Bloom calls “the return of the dead,” a maneuver by which “the new poem’s achievement makes it seem to us, not as though the precursor were writing it, but as though the later poet himself had written the precursor’s characteristic work.”
There are shades of Hitchcock, notably Rebecca and Notorious.