The massive career of Alfred Hitchcock can be broken down into three sections. There’s his early British career (that includes both silent films and talkies) that ends with Jamaica Inn in 1939. Then there’s the first half of his American period; he crossed the ocean and found instant success with Rebecca and continued to hone his craft and try out different genres during the 1940s and early ‘50s. And then finally there’s his most celebrated period beginning around ’54 with Rear Window and Dial M for Murder, where the name Hitchcock became a brand and most of his films were events in themselves. Of that middle period, besides Rebecca there are a number of celebrated and still admired flicks including Spellbound, Shadow of a Doubt, and Strangers on a Train. But one film that really stands out, less flashy than the others but more emotionally devastating, is Notorious. On paper it’s an espionage thriller, but it’s actually one of the great heartbreaking love stories of the era.
Just after WWII, Alicia Huberman (Ingrid Bergman), the party girl daughter of a convicted Nazi spy, is recruited by an American Intelligence agent, T. R. Devlin (Cary Grant), to prove her love to the red, white, & blue by infiltrating a group of Nazis who are hanging out in Brazil, planning a little postwar revenge against the USA. Things get complicated when, while waiting for the job to start, the two beautiful people fall in love. When the details arrive...
Panic in Year Zero!
Actor Ray Milland is best known for his Oscar-winning performance as the tragic drunk hero in Billy Wilder’s The Lost Weekend (and as Grace Kelly’s unlikely murderous husband in Hitchcock’s Dial M For Murder) plus about 100 other flicks going back to the end of the silent era up until his death in ’84. But surprisingly to many, he also did some directing -- mostly television -- and also five cheapie features in the '50s & '60s. His ’62 entry, Panic in Year Zero!, is the one still of some note today. What was just a low-budget, obviously economical, double bill throwaway then, now feels weirdly powerful and very influential. It was the same year as the Cuban Missile Crisis, when America and the Soviet Union were as close to nuclear war as we’ve ever gotten and the world was on edge. So this was a timely, life-after-Armageddon movie. It’s stagey and sometimes awkward, but it’s so cold and vicious that it actually often feels too authentic. It’s almost as if it were a '50s sitcom family (though completely devoid of humor) written by Rod Serling and produced by the NRA. (Yes, when the bombs drop, this movie makes it clear you want to be armed to the tee).
The Baldwins are (I suppose) a typical suburban Los Angeles family, headed by the bossy, gruff dad, Harry (Milland), and his minion wife Ann (Jean Hagen, brilliant as movie star Lina Lamont in Singin’ in the Rain). Harry’s second-in-command seems to be his teenage son, Rick (Frankie Avalon, a year before he would break though and become a big star in a number of beach blanket bikini movies) and rounding out the family is his useless teeny-bopper sister, Karen, played by Mary Mitchell. (She went to school with Francis Ford Coppola and a year later would appear in his Dementia 13. She would be done acting by the end of the decade, but would later compile a long list of credits as a script supervisor). While the family sets out pulling their camper for a little fishing vacation, nukes torch LA and suddenly their trip becomes a fight to survive. Harry goes all in. The film plays like a real how-to, as Harry and son take to the road, robbing for guns, gas and groceries, before setting up a makeshift home in an abandoned cave. Along the way they are forced to confront some James Dean mannered-creeps and rescue the creeps’ sex slave (Joan Freeman), though sister Karen does get raped. And if all of this does not sound grim enough, the film ends on a title card that reads "There must be no end – only a new beginning."Continue Reading