My 2nd most fav movie

onepotato2 wrote:
I'm not a fan of Nororious due to inernally nonsensiccal moments like the bench meetings (which make no sense) and the big key sequence (which truly makes no sense).



Perhaps this should be on the Notorious page but I'm curious as to why you think the bench meetings and key sequence make no sense? That they don't contribute to the plot? Or that they are filmed oddly? Or that the characters and dialog don't work? Or???

For me, the bench meetings serve to heighten the anxiety between the Grant and Bergman characters: they are both doing a job so they must meet for her to pass info on, for him to steer her towards info she needs to find out. He doesn't go easy on her; it's part of his testing of her: was she just foolish as a younger woman or is she really damaged goods? She resents his attitude and doesn't know how to change it. There's the knowledge that they were attracted to each other but that can't get in the way of the mission...

The key to the cellar scenes lead to the gravest danger for Bergman's charachter's life; she knows the risks, Grant knows the risks, but the mission is important, they have to get back into the wine cellar. The suspense is high, they are caught, but Grant thinks fast...and it seems that they, esp. Bergman, will be OK.

Which all leads to one of the best endings in any movie, ever!

Why is Notorious my fave? or Indiscreet one of my second favs?

Notorious works for me on all levels, which would take a long time
to discuss...but the acting, the sets, the production values, the
dialog, the camerawork, and yes, the plot, all work for me. Grant
is impeccable and shows exquisite nuance: a tiny flick of an eyelid
and you can tell what his character is really feeling as opposed to
what the character is allowing others to think. Bergman is in an
unusual role for her and does it quite well. The "bad guys" are
underplayed but their menace is palpable.

As for Indiscreet, I like that it takes place in a world I'll never
see, if it ever existed. There are enough truly comedic moments that
the sometimes sappiness of the "love" story can't dominate. Grant does
his comedic double-takes well, as usual; Bergman is a chameleon but
never more appealing than when she reacts when what is truly going on
( no spoilers here) becomes clear: hell hath no fury like a woman
scorned (sorry if I've got that worded incorrectly).

Me too. Interesting that Bergman, who is perhaps my favorite actress, was dissed by Orson Welles as being no good as an actress. Not his type perhaps?