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We’re back this week with the next seven movies in this year’s 31 Days of Horror. This is the second iteration of the 31 Days of Horror; you can find the one chock full of classics here. As for this year, we have classics, newbies and deeper cuts peppered in here and there. You can check out the first week here if you see a movie you missed on the calendar below.
There will be two more posts after this one: Week 3 and The Final Ten Days. Now that that’s established, let’s go ahead with days 8-14.
October 8th: The Funhouse (1981)
There is something cheesy and fun about this next film. The Funhouse from Tobe Hooper has quite a cult following and holds up as a creepy, odd film from the 80s. This is the film that put Hooper more prominently on Spielberg’s radar for Poltergeist, so you know it has to be good. Creepy clown like figures, terrifying animatronics and one helluva monster makes this a romp that one won’t forget. This definitely a sleeper hit from the slasher surge.
Of course, we have to lean in on the circus theme. Clowns always scare me, so I had to have my liquid courage based around the freaky guys. Therefore, go with the Clown Car Cocktail or if you are brave enough, go with the non-alcoholic Cranberry Clown Mocktail. Now, everyone loves a good snack mix. This one is on theme and does contain some polarizing things, so make adjustments as necessary. This Circus Snack Mix has the cherished (or dreaded) Circus Peanuts and other fun bits and bobs. In order to make this an epic double feature, pair this film with the wacky Killer Klowns from Outer Space.
Rent The Funhouse here on Amazon Video or own it in its newly 4K remastered version here. I made a design for this one as well featuring the creature itself, which you can check out here on Redbubble.
October 9th: Hereditary (2018)
Yes, this movie. It’s a slow burn, but good god does it pay off. I am an Ari Aster fan here and have rewatched both this and Midsommar multiple times whenever I’m in a mood to get disturbed. Hereditary is an intense film that deals with possession in multiple versions. That’s about all I can say without giving anything away, because if you haven’t seen this film, it will impact you the best if you go in blind. It’s a slow burn but stick with it as the last 15 minutes are some of the most intense minutes in film history.
For this one, I have an interesting cocktail that is directly inspired by the film: the Hail Paimon Cocktail. If the mixture of pomegranate and peanut butter into a shooter doesn’t sound like your style, maybe just stick with the peanut butter with this non-alcoholic Peanut Butter Milkshake that you COULD make alcoholic by adding a bit of Skrewball. Now, to honor Charlie, make these Homemade Devil Cremes and make sure NOT to put nuts in them.
You can rent Hereditary on Amazon Video and you need to add it to your physical collection ASAP if you want some brownie points with the cool indie kids. Buy it here. As for the design? I leaned way more on the inside joke side as it is a heavy supplied topic on Redbubble–check it out here.
October 10th: Green Room (2015)
This film is fantastic and seems to be forgotten. Brutal as can be, Green Room leans more like a thriller than a horror if you subtract the gore and violence. A punk band have a gig at a bar in the middle-of-nowhere Oregon (my state!). Little did they realize that the bar is a Neo-Nazi bar and the band they’re opening for falls swiftly in that genre as well. Deciding to take the gig anyways–to quote Stephen Stills, “a gig is a gig is a gig is a gig,”–they end up having to fight for their lives as the crowd is deadly. It’s an intense one as well as another A24 film.
For the food, we have to go hardcore punk in solidarity for this poor band. Therefore, I’ve gone with the strong but tasty Ankle Breaker Cocktail. Not into the booze? That’s alright, you can still be punk rock with this Molotov Mocktail. To echo the wish of them playing at a normal dive bar rather than this hellhole, we paired it all with these White Castle Copycats–a crowd-pleaser and made to accompany alcohol. Now for this double feature, I’m going a little lighter as I want to honor the late Anton Yelchin that delivers in this role and going with Odd Thomas–a cute but creepy flick.
Rent Green Room on Amazon Video or add it to your now growing A24 physical collection here. I also designed a very simple but very reliable design for this one. Check it out here on Redbubble.
October 11th: Ganja and Hess (1973)
Ganja and Hess came to my attention with the release of Clipping’s album There Existed an Addiction to Blood and I’ve been hooked ever since. This film is one of the most famous blaxploitation horror films out there and was released a year after Blacula. Dr. Hess Green gets stabbed with an ancient dagger by his unstable assistant and becomes a vampire. After the assistant goes missing, his wife Ganja Meda goes looking for him and falls in love with Dr. Green–who turns her into a vampire as well. It is a fascinating film with beautiful imagery and luscious symbolism. It was also remade by Spike Lee as Da Sweet Blood of Jesus, but due to critical reception, you’re better off sticking with the classic.
Want a bloodthirst just as mighty as our vampire lovers? Check out this macabre Vampire Vodka with a Syringe of ‘Blood’ which has a fun interactive element that will win over guests in a heartbeat. If you don’t need the heat of alcohol with your blood, try out this Raspberry Mojito Mocktail with the syringe instead. In order to continue your feast of blood, try out this sweet and salty Bloody Popcorn. For a double feature, you’re going to want more Duane Jones in your life. Therefore, pair this with the original Night of the Living Dead.
I know a lot of people who have a soft spot for this film, myself included. Jennifer’s Body is a good time. Filled to the brim with cringy noughties’ humor and a film that has earned some respect among the LGBTQ+ community, it has aged quite well in a modern scope–as long as you don’t take it too seriously. Jennifer comes back from a sacrifice gone wrong and seeks revenge to those who have done her dirty–men primarily. It’s a romp that needs to be revisited if you didn’t like it the first go around.
If Jennifer can, you too can go both ways with Cheese + Chocolate Fondue. In terms of drinks, I had to find the iconic and morbidly named 9/11 Tribute Shooter in which they drink pre sacrifice, so make sure you have one before and after she turns (or as many as you want you wild animal you). I also found a virgin version, but make sure it’s a virgin beforehand. My double feature pick for this film is Ginger Snaps to go back-to-back with sultry, violent femmes.
You can rent Jennifer’s Body here on Amazon Video or add it to your (now-growing, yes?) physical collection here. Check out the design I made on Redbubble for this one.
October 13th: The Birds (1963)
This film is responsible for most peoples’ irrational fears of birds. One of Hitchcock’s tried and true classics adapted from a Daphne Du Maurier novella. It focuses on Melanie and her small town as they try and survive once the avian species in the area turn murderous. With iconic shots and terrifying tension, don’t sleep on The Birds as it is one of the best horror films of all time. One thing I will mention with this film is to watch it with consideration of what Hitchcock did to Tippi Hedren, more of which you can read about in my article all about Hitchcock.
I had to keep with the ‘bird’ theme when choosing these drinks. Therefore, I went with a Kentucky Bird, which is a variation of the classic tiki cocktail, the “Jungle Bird.” Due to it being a booze forward drink, my mocktail consists of one of the ingredients–pineapple juice. Therefore, indulge in this Pineapple Mocktail if you’re not into the strong stuff. In regards of food, I kept it very retro chic and looked for recipes around the 1960s. There, I came across one of my favorite snacky recipes: Bacon Stuffed Cherry Tomatoes. It’s delicious and bite sized that you’ll think you’re eating like a bird.
Rent The Birds on Amazon Video or flex your classic horror movie muscles by having it adorn your shelf, which you can get here. I made a very chic, very classic design for this film on Redbubble.
October 14th: Don’t Look Now (1973)
Speaking of Daphne Du Maurier, this film is a must watch if you haven’t seen it yet. A surreal horror nightmare, Don’t Look Now addresses some of the bleakest topics there is out there. Not only that, but it is also a visual masterpiece. Starring Donald Sutherland and Julie Christie, Don’t Look Now reigns as a surreal psychological thriller that stood the test of time gracefully. There’s not much more I can say as going into this film with little information has a huge payoff.
This film will pair nicely with a Little Red Jacket Cocktail, both in feeling and in the literal sense of the red jacket seen several times in the film. As that cocktail contains Jägermeister, I wanted to see if there could be a mocktail that has same spiced taste. Considering Jaeger has 56 herbs and spices, I had to narrow it down to a delicious tasting mocktail that has no name relation to the content of the film: Don’s Virgin Sacrifice. Now, we’re ending the week fairly classic, so why not take it to the 70s with this Classic Cheeseball, perfect for spreading and stress eating the dread away.
You can rent Don’t Look Now on Amazon Video or own it physically by following the link here. Due to the film’s harrowing subject matter, I mashed up two films for the design to poke fun at a trope rather than referencing the movie itself. Check that design out here.
Coming Up Next
So, there’s the second week of the 31 Days of Horror here on The Void of Celluloid. Hopefully this spawned some ideas on what to make for any upcoming Halloween celebrations. For those that like to go hard and celebrate every day like me, go for it–I have given you the tools. We had Week 1, coming up next is Week 3 and The Final Ten Days which will be linked respectively once published.
Anyways, thanks for spelunking this void with me. If you’re new to the Void of Celluloid, welcome. Feel free to spelunk some other voids while you’re here and follow me on other platforms by clicking the buttons below. We post regularly and stay up to date about what’s going on in horror today, reflect on what went on yesterday, and plan for a better, horror filled tomorrow. See ya next time.
I would first like to welcome The Void back! She chose this movie for me during her hiatus, so I have watched it, had time to stew on it, and here goes my dissection.
For this outing, The Void has chosen the 1941 Alfred Hitchock movie, “Suspicion”. She told me upon discussing it with her after my viewing, that she picked this for me because of how swooned over Cary Grant in “Notorious”. Unfortunately, without giving too much away, this film has slightly tarnished not only my opinion of Mr. Grant, but of Mr. Hitchcock as well. I have never had a problem liking flawed characters, just look at my past dating history, but as I get older, I have come to differentiate between flawed and defective. But let’s get into the nitty gritty shall we, and I hope to explain what I mean. I hope you will join me for my take of 1941’s “Suspicion”. You can check out my last Hitchcock review here.
So It Begins: Suspicion
The film begins with a black screen and Johnnie (Cary Grant) apologizing to someone unseen, explaining he didn’t realize they were going to go through a tunnel and he thought the compartment was empty. When the light fills the compartment, we see Lina (Joan Fontaine), book in hand, looking slightly annoyed at Johnnie as he is putting his things on the shelf above the seat opposite her. He complains to her that he had to switch compartments because of the cigar smell next door. He asks if she smokes and explains how relieved he is when she says no because he apparently had quite the evening the night before. When he asks her if she understands, he surveys her more conservative appearance; her sensible shoes, child psychology book, high buttoned coat and hat, and he conveys a look of ‘well maybe not’.
Just then the porter enters asking for their tickets. Lina retrieves hers from her handbag, while Johnnie quickly goes from pocket to pocket, searching for his. Lina’s ticket is first class; Johnnie’s ticket is for third class. The porter explains he is in the wrong compartment. Johnnie accuses the rail line of ‘selling third class tickets at first class prices’. The porter gives him the total for the seat upgrade, and Johnnie asks if they will accept what he has, which is not enough.
The porter looks at him unsympathetically, and Johnnie asks Lina if she has any change. She starts to pull coins out of her purse and he reaches over, grabs what he needs and gives the money to the porter, who gives him a disgusted look as he leaves the compartment. Now personally, I don’t care how handsome or charming a person is, if they help themselves to my money, out of my hand, they are pulling back a bloody stump!
Johnnie acts as though he is trying to sleep, while Lina picks up the newspaper. She opens it to the society page, and there is her new, freeloading compartment mate pictured with an elegantly dressed woman. Lina looks from the paper to Johnnie as he looks out the window, annoyed by the sunlight.
The Fox Hunt
We are now at the start of a very traditional English fox hunt. Bugles playing, horses antsy to get going and dogs barking. Johnnie is charming the ladies and a local photographer. In the distance he sees a horse being a bit cooperative and he instantly recognizes the rider as his unwitting travel companion, only this time, she is sans glasses, looking vibrate and RICH!. He asks the ladies he is with her name, because of course he didn’t bother when he was pilfering money out of her hand. One of the women warns him that Lina is ‘not up his alley’. Johnnie replies he is ‘bored with people in my alley’. He asks for an introduction and the woman who issued the warning refuses. Johnnie says he will just have to do so himself, as the ladies go to get ready for the hunt.
With the hunt over, we now find Lina, back in her more mousey attire, casually reading in her home. Visitors arrive at her window and she greets them, inviting them in. They are the same ladies from the hunt, and Johnnie got the introduction he wanted. Lina instantly takes off her glasses and accepts the introduction, shyly. The girls tell Lina that when they saw her in the window, Johnnie insisted on meeting her. I am sure this was completely a coincidence (Wink Wink).
Lina questions why Johnnie would care to meet her, and his answer made me gag a little. This man is so full of himself, he is going to need a bigger suit! Lina is more reserved than his other companions. He tells her that she should hurry so she is not late for church, which she was not planning on attending. When she inquires with the ladies if that was their plan, they are caught off guard, but Johnnie sees his plan working out as intended.
The three women extend an invitation to join them, and much to Johnnie’s delight, Lina accepts, with a bit of speculation towards her stalker in her voice. He asks her to put on the hat she had on the train, signalling to not only Lina, but the other ladies, that he remembers her and it is not their first meeting. Lina leave to make herself ready, while the ladies take seats to wait for her return. Johnnie pick up the book Lina was reading and as a bookmark , she is using his picture she saw in the paper on the train, much to his delight.
A Deadly…Hair Fixing?
When they reach the church, Johnnie finds a way to separate Lina from the group and before entering the two leave together. We next find them struggling on what appears to be a cliff top. Lina is not amused, while Johnnie see this as all great fun. He inquires why she so aggressively fought off his advances, afterall, it wasn’t like he was trying to kill her. No means NO, even in 1941! He explains that he was not trying to kiss her, he was just trying to fix her hair, telling her that her hair is all wrong.
He then undoes her hair and makes it ridiculous. She tells him that she is much different than the women he is photographed with, he asks her how he stacks up against her horse. Interesting approach, at this point, I would compare him more to a dog…but anyway. Lina tells him that if she ever got the bit in his mouth, she would have no problem controlling him. That’s my girl! Johnnie then makes his move to try and kiss her, and she dodges successfully. It is at this point he bistoes his new nickname on her. Monkeyface.
Johnnie walks Lina home, and as they approach, she asks him not to come further. He tells her he will come to ‘fetch her’ at 3:00. She tells him no, and he keeps insisting. She leaves him, and as she approaches the house, she hears her family discussing her. They are talking how she will never marry, how they will have to care for her, and that she is a spinster. Her father does praise her brains and character, but the damage is done.
Mom and Dad basically tied a steak around her neck and sent her to the wolf! Lina turns to see Johnnie standing there beside her. He is smiling, and it is uncertain if he heard what her parents said or not. Lina wraps her arm around his neck and kisses the wolf, I mean Johnnie. She quickly retreats into the house and joins her parents for lunch.
Lina tells her parents she didn’t go to church after all, but went on a walk instead with Johnnie. Her father quickly remarks that Johnnie is wild, and when Lina asks, he tells her he was caught cheating at cards. She tells her parents she is seeing him again, and she no more gets the words out, and she gets a call that he has canceled their plans. She returns to the table, slightly defeated.
As time goes on, Lina tries to track Johnnie down. She inquires if he has been invited to an upcoming ball, checks her mail, and calls him home. No reply. The night of the ball, Lina’s mother comes to her room to find her crying, saying she is not going to the ball. A telegram arrives, stating Johnnie’s intentions on seeing her there. Suddenly Lina’s mood changes and she opts for a more revealing dress.
At the ball, Lina is watching the others dance. She waits on the sidelines, anxiously watching the door for the wolf. A friend approaches her and they start to dance. LIna’s father is approached by the butler, saying that there is someone at the door. He says he is with his party, to which Lina’s father disputes ever extending an invitation. The matter is quickly dismissed as Lina sees him and the two begin to dance, leaving her stunned father and his other female admirers behind.
They dance their way out of the ball, and Johnnie helps himself to Lina’s family’s car, as she gleefully protests. They drive off, all smiles and he asks her if she has ever kissed in a car. When she says never, he remedies that situation. Their conversation reveals how much of a ladies man he is. He admits to her that he is honest with her because he can see that is what will get him results, to which she replies with a confession of love.
He is a cad and she is an idiot. Blunt I know, but it is one thing to be fooled by someone who is pretending to be something they are not. It is something entirely different, when they lay every ugly detail out on the table, and yet “but I love him”, is still your reply. I want to reach through the screen and slap her, just on principle.
Johnnie tells her he is falling in love with her as well, and they make a stop at Lina’s house for a drink. Johnnie tells her how nervous he is and she says she is not, because she knows what she wants. He is taken aback by the painting of Lina’s father, admitting that he knows her father doesn’t like him. To his credit, Johnnie tells her, he is everything that her father says he is. Johnnie proposes and she agrees as they dance to a song of their own.
Well That Was Fast: The Fatal Flaw of Suspicion
Lina is leaving to elope and she goes to tell her parents goodbye. Okay….I am going to be honest with you here. When I review the movies, I watch them once and then watch them again, pausing and analyzing the scenes. I can’t with this one. It just pissed me off. So here is the rest of the film in a nutshell.
Lina runs off and marries Johnnie, who, when they return home from a honeymoon he bought with credit, moves them into a home they can’t afford. He is banking on the fact that her parents will give her money. The only thing that they give them is a set of antique chairs, that he turns around and hocks so he can go and gamble. Lina is upset and heart broken until Johnnie returns from the track with presents for her, and his lifelong friend, who is staying with him. He gives her the receipt for the chairs he bought back and all is forgiven. The friend mentions he has an allergy to brandy, and drinking it could kill him.
Johnnie agrees to take a job with his cousin as a property manager. When Lina goes to visit him at work one day, she discovers they fired him for stealing $2000, the exact amount he “won” at the track. She does not confront him, but starts to pack, and once again “But I love him.” comes into play. She stays of course.
Johnnie and his friend decide to start a corporation and go into real estate, but the land they try to buy is bogus. Lina’s father dies and instead of money, he leaves them the painting from the study. Good job Pop! The friend goes back to Paris to dissolve the corporation, while Johnnie goes to London.
Johnnie’s a Little Sketch, But Why Does That Matter?
Later in the week police show up and tell Lina the friend is dead, someone had poisoned him with brandy. They ask where her husband is, and she covers for him. She calls the club where he was to be staying, and they said he left a few days ago. She instantly believes her husband killed the friend.
Then, there is a bunch of stuff with life insurance and Lina again believes Johnnie is going to kill her this time. She decides to leave him and go to her mothers, which he agrees to. There is a struggle in the car and confrontation and Johnnie reveals he was going to kill himself. That way, she could have the life insurance money and pay off the debt and get rid of him. Of course Lina responded with, “But I love you.” and they drive off into the sunset.
Final Thoughts on Suspicion
I wanted to like this film so much, Hitchcock, Grant, Fontane….but it is just a pile of pretty people doing disgusting and stupid things and charming their way out of it. She never should have married him, and when he sold her chairs, she should have been gone. I love the players in this film, but not the film. I will not be watching this again, anytime soon.
Am I angry about this? Yes. Do I recommend it? No. The Void has given an assignment from way back in time, and possibly the pits of Hell. As long as there are no chair stealing, pretty boys; I can handle anything but that!
Notorious is a wonderful introduction to the genre of film-noir. It eases you in without being too dark, and gives you enough romance to make you care about what happens to the two leads; the two leads are Cary Grant and Ingrid Bergman, so that is not a difficult thing to do. Boy, Ingrid Bergman has gotten a beating over the last few weeks. Brilliantly directed by Alfred Hitchock, Notorious transports us back to the days just after World War 2, with enough spies, intrigue and innuendo to keep even the most passive viewer engaged. So without further ado, here is my analysis of 1946’s “Notorious” . PS: If you are looking for the 2009 biopic Notorious about the Notorious B.I.G., I am afraid this is a very different film. You can check out the last MOTV post here.
The film starts in a courtroom in Miami, where Alicia Huberman’s (Bergman) father has just been convicted of treason. The press is waiting for her, taking her picture and bombarding her with questions. It is quickly established that she is being followed, but by whom?
We now find ourselves at a party at Alicia’s house, where she is generously pouring drinks, as she is being asked questions by her guests about being followed by the police, which she ignores. We can see everyone’s face, except a shadowy figure with his back to us. Alicia acknowledges him, pours him a drink and begins talking to him, with no response from the mystery man. To be honest, she doesn’t really give him a chance to respond. This is her house and she is commanding the room, looking stunning while doing so. She suggests that the mystery man is a party crasher, but is corrected by the guest who invited him. Still not a word from the shadowy figure.
Alicia finally acknowledges the fact that she is being followed and expresses her annoyance at being a marked woman because of her father’s dealings. The elder gentleman she has been generously imbibing reminds her that they are setting sail tomorrow and the police will no longer be a problem. The party begins to break up, and as it does, Alicia pours the mystery man another drink, telling him she likes him, even though he hasn’t uttered a word.
Finally the camera pans around to show that our mystery man is Devlin (Grant). It is apparent that the two have continued to drink long after the other guests have either left, or passed out. Alicia is clearly intoxicated, but Devlin is cool as a cucumber. Alicia suggests that the two go outside for a picnic. She tells Devlin her car is outside, and asks if he wants to go for a ride. She tells him that she is driving, and all he protests to is that she doesn’t have her coat, to which she replies, “You’ll do.” When they exit the house, the wind is blowing, and Devlin proceeds to wrap a scarf around Alicia’s bare midriff, telling her he doesn’t want her to get cold.
Celeb crushes, anyone?
I have a confession to make here. If I was to build the perfect man it would be a combination of Cary Grant and Jimmy Stewart. I think I spent half this movie swooning over Grant’s cool demeanor and suave good looks. Ok, let me wipe the drool off my chin and continue.
Having gotten her way, Alicia is erratically swerving all over the road. She asks Devilin if he is scared, and he shows no fear, as she increases her sleep to make him show her something. We can see Devlin’s hand is positioned to take control of the wheel if need be, but he is saved from having to do so by a motorcycle policeman’s approach. Alicia expresses her disdain for the police. She reluctantly pulls over after admitting that this would be her second drunk driving offense and that would cause her to go to jail, like the rest of her family.
The officer approaches the car and after a few snide remarks from Alicia, he asks Devlin if she is drunk. He doesn’t answer, he just reaches into his pocket and shows the officer his credentials. The officer apologizes for pulling them over and states his assurance in Devlin’s abilities as he walks away.
Alicia, confused and agitated, askes her passenger where the ticket she rightly deserves is. Finally Alicia asks for his name, and he introduces himself to her. She questions him about what he showed the officer to make him leave. She becomes aggressive as she identifies him as a cop and begins to hit him, while Devlin stays measured and cool. He tells her to move over so he can drive and take her home. She refuses, gripping the steering wheel until her knuckles are white. He tries to be as gentle as he can with her, while she continues to hit and fight. I am not sure what moves he does on her, but she finally either passes out or just gives up. He slides into the driver’s seat with a sigh.
The next morning, Alicia awakes with a hangover cure on her nightstand and Devlin leaning casually in her doorway. Hitchcock’s direction is wonderful here. He spins the camera to show how Alicia’s head is spinning from her crazy night.
The Plot Thickens
As Alicia slowly starts to get her wits about her, she questions Delvin about what he wants with her. He explains that he works for the government and they want her to help them catch some of the men who had worked with her father, and are now conducting business in Brazil. She insists she is not interested and even turning her back on him. He tells her that her apartment has been wired for three months, and he plays a recording between Alicia and her father. She tells her father that she loves America and hates what her father is doing. She is visibly upset by this, but tells Devlin that she wants to live her own life.
The captain from the night before arrives and tells her that it is almost time for the boat to depart. He leaves again as Devlin gives Alicia another chance to agree, which she does, sending him to tell the captain the bad news.
The couple is now on a plane to Brazil. Everyone used to get so dressed up on airplanes, not a pair of pajama pants or crocs to be found. Devlin points out their boss, a few rows back in the plane. Devlin tells Alicia that her father has died. He took a poison capsil. Alicia reflects on how nice she and her once were before she knew who her father really was. With his death, she no longer has to hate him or herself.
They are now at a street cafe in Rio, still awaiting news on what their job will be. Alicia asks Devlin to put his cop brain on the back burner and just take her hand and have fun. Alicia starts to drown her doubts in herself as she asks Devlin to believe in her.
They have gone for a drive and are admiring the view as Alicia tells Devlin that he can’t admit he has feelings for her because he is ashamed of loving a drunk, and is worried about what others will think. Well he finds a way to stop her from talking; a passionate kiss does the trick.
Alicia and Devlin
The agents are having a meeting about Alicia, and how much faith he has in her. The meeting adjourns with the men looking very proud of themselves. They basically just agreed that Alicia will have to find her way into the house of the German business man they are targeting, who had ties to her father.
Devlin and Alicia have arrived at her hotel room and make good use of the balcony, and I don’t mean they are admiring the view of the beach. The two make plans for dinner in between kisses. Devlin contacts his hotel to see if he has any messages. Alicia tells Devlin she knows he doesn’t love her, to which he responds, “When I don’t love you, I’ll let you know.” Ok…heart…calm yourself….swoon…
Devlin has a message from his boss, and he has to leave for a meeting. They kiss all the way to the door. At the meeting, his boss has obviously told him they expect Alicia to become intimate with their target. He is visibly upset and states that he is not sure that she will do it. His boss tells him that their target, Alex Sebastian ( Claude Rains) was once in love with Alicia, and this is the perfect opportunity to get someone on the inside to find out what has been going on.
It is determined that Devlin and Alicia will stage an unexpected meeting with Alex at a local riding club. Devlin now has the unfortunate task of going back to tell the woman he loves he is whoring her out for the good ole’ USA. Those are my words, not his, but if I was Alicia, that is what I would hear in my head.Devlin returns to Alicia’s hotel room as she is happily cooking for the two of them. She happily is going about, setting the table, and he is back to his mystery man stance. Alicia is so open with him, and he zings her, and gets back to business.
Devlin asks Alicia if she remembers their target and asks if he had feelings for her. She tells him that he did have feelings for her, but she did not return them. She asks him what the plan is and he tells her that they are meeting Alex tomorrow, but it is up to her to “land him”, which is better than saying nail him I guess. Alicia compares herself to Mata Hari, trying to lighten the mood, Devlin brings any levity crashing to the ground as he reiterates that she has to win the target over and get the intel. Alicia accuses him of knowing all along that this is what the job was and he tells her he just found out himself. Both are heart broken, but Devlin hides behind his law enforcement mask while Alicia’s expressions are an open book.
Alicia Joins the Case
Alica asks if he told the boss she was not the kind of woman for this job, and Devlin says he leaves it up to her to defend herself. She enquiries if he tried to adjust the assignment, if he tried to protect what they were starting. Devlin replies, this is the job they have to do. As her pain increases, Alicia’s mask is starting to be secured into place. She asks him if she should take the job, and he tells her it is up to her. She asks him to tell her that he loves her, but once again, the words do not come.
As she walks from the cozy balcony, her self esteem seems to blow way with the ocean breeze. My heart breaks for her. This man she is falling for is willing to give her up to another man because it is the job. His cold and matter of fact demeanor is doing nothing to help ease the pain of this blow he had dealt her. He did so much more damage with his words and lack thereof, than he ever did in the tussle over her car back in Miami. She takes a drink and when she speaks her mask is firmly in place.
The next day, the two are heading to the riding company. Devlin gives her his back story, and his folded arms show how unhappy he is about the situation. At the riding club, the two slowly ride past Alex, but Alicia’s hat obscures his view, even though he does have a spark of recognition. When Devlin says they should wait around and take this slowly, Alicia is not too keen on this idea, signaling her horse to run, which makes Alex follow, clearly recognizing a woman he was once very fond of. Alex catches up to her, taking her horse’s reins and stopping them both, as Devlin looks on, his mask cracking.
Having missed a meeting with Devlin, we find Alicia and Alex having dinner. Alex is openly flirting as Alicia is cool but affectionate. She sees Prescott, her boss, enter the restaurant. Alex asks if she knows that man and she says no. He explains to her that Prescott is intelligence, and Alicia shares her disdain for members of law enforcement, explaining they are the reason why she left Miami and was not there when her father died. Alex admits this answers a question he had about why she left Miami. Alex says he wants to help Alicia forget all the pain and trouble she and her father had gone through. She tells him she feels at home with him.
Tension between the lovebirds
Alex asks her if there is someone else in her life and specifically Devlin. Alicia tells him that Devlin has been nothing but a pest since she arrived in Rio. She assures him that Devlin means nothing to her. Alex invites her to a dinner party his mother is throwing at their house. So, he is a mama’s boy. Let’s see to what extent shall we….
Devlin is angry, Prescott curious about flowers Alex has sent Alicia. The two agents are waiting in Alicia’s room as she appears, stunning in white, ready for the dinner party. Prescott gives Alicia some rented jewels, and tells her to try and memorize the names of the people in attendance. He tells the two that they need to not see each other for a few days, in case anyone from the party checks up on her.
Alicia arrives at Alex’s house, a large mansion on the ocean. He is doing very well for himself. . She is escorted into a room to wait, and she sees Alex’s mother descend the stairs. The two women greet each other, but with guarded stances. Alex enters, and the Ice Queen, oh sorry, Alex’s mother suggests they meet the other guests.
As all the guests take their seats for dinner, a certain wine visibly upsets one of the guests. Alex quickly escorts him from the room as Alicia takes note. Alicia cannot see the label of the wine in questions.
After dinner the gentlemen retire to a room to have cigars and to discuss the poor man who had a melt down about the wine and is now waiting nervously in the hall. He enters the room and apologizes to the men. He tells Alex he wishes to leave on his own. One of the other guests insists on driving the man home. A concrete shoe fitting, anyone?
Mama’s boy and the Ice Queen are at the horse races, discussing where Alicia disappeared to. Devlin and Alicia meet, and she gives him her intel from the party. Alicia tells Devlin that Alex is one of her playmates. Devlin is angry and lashes out the best he can without losing their cover. He is cruel to her and as Alex approaches he gets one more jab in as Alicia tries to gain her composure. Alex tells Alicia he was watching the two of them and she must convince him that Devlin means nothing to her.
Alicia and Alex
Prescott and Devlin are meeting with other agents, discussing the intel Alicia gave them. She announces that she is there to see them, and when one of the other gentlemen in the room makes snide remarks about her character, Devlin stands up for her, putting the man in his place. Now if he could just do that when she is actually in the room, the love birds might make some progress.
Alicia enters and tells the gentlemen that Alex has asked her to marry him, and she had to give him an answer quickly. They tell her that if she is willing to go this far for them. Prescott asks for Devlin’s opinion and he agrees it is a good idea. Both the lovers are heartbroken, but masks in place. Devlin quickly takes his leave, as the men discuss their luck in this opportunity.
Now married Alex and Alicia return home after their honeymoon. The Ice Queen is not happy about the situation, and makes sure the couple comes home to a dark house. The next day, while Alicia is settling in, she discovers locked doors. The butler tells her that the Ice Queen has all the keys to the locked doors. Alicia interrupts Alex’s meeting and he goes to fetch them from mommy. The two argue behind clothes doors, and what do you know, Mama’s Boy won.
Alicia systematically goes through the house unlocking all the doors but the wine cellar, which only Alex has the key to. While meeting to share information, Devlin tells her to get the key. Alicia tells him easier said than done, and that she is having no fun. Devlin tells her it is too late for all that. He convinces her to throw a party. She can steal the key and slip it to him during the party.
The night of the party, as Alex gets ready in the other room, Alicia stealthily takes the key from his keychain. She does some quick maneuvering as her husband tries to explain his jealousy toward Devlin.
The newlyweds greet their guest, as Alicia holds tight to the key. When Devlin arrives, Alicia slips him the key as he kisses her hand. Alex quickly approaches and assures Devlin and the invitation to the party was from both of them, not just his wife. Our two sneaks begin to worry that the party will run out of champagne and Alex will realize that his key is missing during his absence. Another guest drags Devlin away, while Alicia enquiries with the butler about the champagne supply. Alicia goes to find Devlin, and as they sit and talk, Alex watches the pair from across the room. They plan where to meet and Devlin leaves as Alicia returns to her husband’s side, watching more and more glasses of champagne be poured.
The Wine Cellar
Alicia makes an excuse to leave and goes to meet Devlin. As he searches the wine cellar, Alicia keeps watch. While trying to examine some paperwork, Devlin breaks a bottle of wine that is full of “sand” Devlin gets a sample and the pair half heartedly clean up the mess. He tells her to find another bottle with the same label. She does, but only looks at the label, not the vintage. Alicia pours out the wine, and puts the “sand” back in the bottle and places on the shelf.
At the party the butler approaches Alex to inform him they are running low on champagne. Devlin and Alicia quickly finish cleaning up as Alex arrives in the cellar. Worried about being seen, Devlin quickly kisses Alicia. In the moment, she loses herself and drowns his love for her. He tells her to push him away as Alex approaches. She tells her husband that Devlin drunkenly made the advance. Devlin tells Alex, “I knew her before you, I loved her before you, but I am not as lucky as you.” From behind his mask, Devlin is able to speak his truth. He gives his apology to the couple, and Alex sends Alicia up to see to her guests.
Back to the task at hand, when Alex and the butler return to the wine cellar, he realizes that his key is missing. He tells the butler that the guests have had enough champagne and they can drink what is available upstairs.
Alicia apologizes to her husband after the guests have left. He tells her he was the one who acted like a school boy and then sends her to bed while he goes to conduct some business.
When he enters his bedroom, he sees Alicia sleeping in her bed. He takes his now lighter keyring and places it on the vanity, looking back to his wife. The next morning Alex awakens and looks nervously at a still sleeping Alicia. He goes to check his key ring and the missing key is back where it belongs. He goes down to the wine cellar. Nothing seems out of place, but then he notices something poured down the sink. He goes to examine the shelf where the broken bottle came from. One of the bottles is the wrong vintage and not sealed properly. He picks it up and sees it is full of the “sand”, but he realizes that someone has tampered with this bottle. He searches further and finds the broken bottle under the shelves.
Alex does what any self respecting mama’s boy would do. He runs to his mommy and tells her that his wife is an American agent. The Ice Queen is practically giddy when she finds out there is a problem with her daughter in law. Alex reminds his mother that his business partners got rid of a man for freaking out over a bottle of wine. What will they do to him when they find out his wife is a spy. The two strike up a plan to slowly make Alicia ill, and then one day they will just get rid of her.
What’s in the Bottle?
So the slow poisoning of Alicia begins. When she goes to meet Prescott, he tells her that the “sand” is actually uranium ore. He tells her about Devlin’s transfer to Spain. He asked for the transfer. Alicia confirms that she is still to report to Devlin until the new contact arrives.
Alicia is suffering from dizzy spells, and when she finally goes to meet with Devlin, she is quite ill. She apologizes to him for being late. They both say nothing new is happening. He tells her she doesn’t look very well and asks her if she is sick and she tells him it is a hangover. He is not surprised about her return to her old ways. While they both try to hurt each other with their words, Alicia gives him back the scarf he tied around her waist in Miami. She goes to leave and he asks her to stay, and she tells him she doesn’t want to.
The scientist that is staying with Alex shows genuine concern for Alicia’s health. He starts to give away information about where the uranium is coming from. When the houseguest mistakenly picks up Alicia’s coffee and the Ice Queen and Mama’s Boy quickly stop him from drinking from her cup, the light bulb goes off in Alicia’s head. She knows they are poisoning her, and tries to leave and returns to her room. She collapses before she can get up the stairs to her room and make a phone call for help. Alex insists on removing the phone so she is not disturbed and locks her in there, cutting her off from all contact.
Devlin is in his usual meeting spot, but Alicia never shows up. He goes to see Prescott, and tells him that she hasn’t shown up for 5 days. Devlin tells Prescott that he realizes that Alicia was not drunk when he saw her last, just very sick. He tells him he is going to go to the house and check up on her, make a friendly house call. Prescott tells him to check in after.
Devlin pulls up in front of the stately manor and when the butler opens the door, she asks for Alex first. The butler tells him Alex said no interruptions. He then asks about Alicia and the butler confirms she is ill. Alex is told Devlin is there, and he has his butler tell him to wait. In the meeting, they discuss that people are following them.
Delvin decides he can no longer wait and quickly makes his way up to Alicia. She is barely responsive, but when she realizes it is him, their love for each other cannot hide. She tells him they are poisoning her. He tells her he is going to get her out of the house. Devlin tells her that he was leaving Rio because he loves her and couldn’t stand to see her with Alex. He starts to get Alicia ready to leave and she tells him they gave her sleeping pills. He tries to keep her talking to keep her awake. She asks him to tell her again that he loves her, it keeps her away. As they slowly make their way to the door, she tells him where the sand comes from.
They start to make their escape as Alex meets them at the top of the stairs. Devlin tells the Ice Queen and Mama’s boy that unless he lets them go, he will tell his business associate the truth about who Alicia is. Alex freezes, and mommy does his talking for him. As soon as his associates start to question what is going on, Alex actively helps get Alicia to the car. Once in the car. Alex is locked out of the car and left behind to deal with his associates. With the weight of this hanging in the air, the film ends.
After filming wrapped, Gary Cooper took the wine cellar key. After a few years, he gave the key to Ingrid Bergman, and at a tribute to Alfred Hitchock, she presented the key to him.
All the scenes with multiple kisses were because there was a time limit on long screen kisses due to the Hayes Code.
RKO paid David O Sleznick $800,000 and 50% of the profits for the use of the screen writer, HItchcock, Cary Grant and Ingrid Bergman.
Hitchcock stated that during the course of making the film, he was under surveillance by the FBI because his film contained references to uranium.
I am a huge Hitchcock fan, but this film had escaped my viewing all these years. The first fifteen minutes of the film is very funny. Drunk Ingrid Bergman is delightful. The rest of the film is suspenseful and full of angst and heartbreak. All of the performances are outstanding, but it is the film leads, holding on to those masks of their feeling with all their might is where the film shines.
Hitchcock skillfully uses light to show conflict. Characters in half shadow, stepping into the light, retreating into the dark, this often says more than any dialogue could.
World War II was still fresh in America’s mind when they made this film I am sure that it made the audience question how far they would go for their country. Could they give up their happiness, love, freedom and body if their country asked it of them? More importantly, should this be something that a country asks of its citizens?
“Notorious” is on a number of top film lists and for good reason. You can stream it for free on YouTube and other platforms.
I don’t know where the Void will send me next. Thriller, Horror, Noir…Wherever it is, I am looking forward to the journey, and I hope you will join me for what lies in store. Until next time.