Notorious Film Analysis Notes

Notorious: Structure and Female Subjectivity

Notorious is structured in five parts, dividing Alicia's role symmetrically between object and subject: O/S-/S+/S-/O. In the central part (S+), Alicia actively investigates within Sebastian's house, uncovering the Nazi group. The segments before and after this central part show her as a passive subject (S-), while the beginning and end present Alicia as a passive object (O) of male observation. This symmetrical structure gives the film unity but also highlights the gendered power dynamics.

Visual Language and Female Objectification:

The film opens with cameras flashing, then shifts to a subjective shot of a photographer watching the courtroom where Alicia's father is being sentenced. Alicia's entrance is unexpected, emphasizing her physicality as an object of contemplation, disrupting the narrative flow. This reinforces the classic image of women in film as pure physicality and spectacle.

Intertwined Political and Sexual Themes:

Alicia is scrutinized both for her sexuality and her potential to aid in uncovering her father's Nazi connections. These investigations are interconnected, highlighting the desire to control Alicia. The film merges these themes using the spy story as a MacGuffin, initiated by Devlin's entrance.

Devlin's Introduction and the Male Gaze:

Devlin is first shown from behind, watching Alicia at a party. This setup establishes a separation between the camera's gaze and Devlin's, mirroring a cinema audience watching a film. The scene embodies the male gaze, with Devlin (and the audience) observing Alicia's performance. However, this sequence also acknowledges the cinematic apparatus and its gaze, hinting at Hitchcock's awareness of the issues, though not necessarily from a feminist perspective.

Moral Ambiguity and Female Exploitation:

The film presents a morally ambiguous situation where Alicia's promiscuity is considered immoral but is exploited for political purposes. She is used by Devlin to gain information, creating a sadistic dynamic where she faces dangers alone. The ending, where Devlin rescues Alicia, doesn't negate the film's perversity.

Shifting Subjectivity and Distorted Perspectives:

After the party, Alicia drives drunk, shown through blurred subjective shots, indicating her impaired perspective. Similarly, when she wakes up the next day, her subjective view of Devlin is upside down and distorted. These distorted perspectives highlight her lack of control and place her under male authority.

Love Story vs. Spy Story:

The film contrasts the spy story with a love story between Alicia and Devlin. Their love is expressed through longer takes and two-shots, emphasizing connection. However, the main part of the film uses subjective shots and off-screen space to depict both the investigation and the strained relationship.

Alicia as Active Subject:

Alicia becomes an active agent, investigating Alex. This shift is mirrored by her active gaze (S+). This section emphasizes Alicia's investigative actions, where looking becomes an action. She carefully observes and reports information, highlighting Devlin's mistake as the turning point.

Suspense and Dual Roles:

When Alicia enters Sebastian's house, subjective and semi-subjective shots are used. Alicia takes on a traditionally masculine, active role in gathering intel, but she is also placed in danger. This creates suspense, derived more from mise-en-scène than the narrative events, highlighting the precariousness of her position.

Contradictory Female Persona:

Alicia is active yet passive, bold yet cautious, in love with Devlin but feigning attraction to Alex. This reflects the contradictory nature of Hitchcock's female characters and his complex view of women.

The Key Sequence:

The sequence involving the key is significant. Alicia maneuvers to steal the key to the wine cellar, using a semi-subjective shot to show her intent. Suspense is built through the use of off-screen space, heightening the tension as Alex could appear at any moment.

Reversal to Passivity:

After obtaining the key, Alicia's active role diminishes. The party sequence shows a balance of gazes between Alicia, Devlin, and Alex, but this is disrupted when Alex discovers Alicia's betrayal. She then reverts to a passive role, mirroring the beginning of the film.

Alicia's Poisoning and Loss of Agency:

The fourth part of the film shows Alicia's poisoning and physical decline through short, essential scenes. The visual elements become independent of dialogue. Alicia becomes passive again (S-/O), under the gaze of Alex and his mother. Her physical weakness, particularly her failing eyesight, symbolizes her loss of agency and knowledge.

Climax of Passivity and Dependence:

The climax occurs when Alicia discovers she has been poisoned. Distorted subjective shots convey her failing vision. She is reduced to needing Devlin's help. The final scene shows Alicia as a helpless figure being supported by Devlin, symbolizing her return to a passive, traditionally feminine role.

Thematic Conclusion:

Ultimately, Notorious defines sexual identity through the body and the gaze. While Alicia temporarily assumes an active role, the film ultimately reinforces traditional gender roles, with the male character reclaiming his position as the hero.