Notorious / 1792 Small Batch Bourbon

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As we get into today's episode,
I just want to take a second and

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remind you that there's a ton of
extra content available to the

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Check us out on patreon.com/film

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Whiskey.
In 1946, director Alfred

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Hitchcock and star Cary Grant
gave the world an espionage

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thriller that set the stage for
every spy movie to come.

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In 2023, we go back to basics
with a reliable bourbon

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workhorse.
The film is notorious.

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The whiskey is 1792 Small Batch
and we'll review them both.

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This is.
The Film and Whiskey podcast.

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Welcome to the Film and Whiskey
Podcast, where each week we

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review a classic movie and a
glass of whiskey.

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I'm Bob Book.
I'm Brad G.

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And this week we are kicking off
our last director of the season

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one, Alfred Hitchcock, with his
1946 espionage thriller

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Notorious.
Never heard of him.

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Brad Yeah, I don't really know
where to start with this, but

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there's a couple leads that I
am.

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Considering burying here, Let's
start with Hitchcock.

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We have heard of him before
because he is already one of our

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most watched directors on film
and whiskey I believe up to this

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point we have done 4 films by
Mr. Hitchcock and after this

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miniseries we will be at 9 and
he will be far and away.

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I think our or maybe tied with
Scorsese for the number one

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spot.
Well man, have we watched 9

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Scorsese films.
You know what?

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Now that I think about it, I
think we've still.

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He'll still have the crown.
I think it's 10 Scorsese films.

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Jeez, yeah, we haven't watched
10 Scorsese films.

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We've.
Watched a whole bunch, man.

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Jeez Louise, I was going to say,
because we watched what Vertigo?

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Rear Window Psycho.
North by Northwest and North by

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Northwest, yeah.
So what we wanted to do, let me

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rephrase.
What I wanted to do with this

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last miniseries was Hitchcock is
one of those directors.

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That is in very rarefied air.
Like a Scorsese.

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Like a Spielberg.
You know, actually go ahead to

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catch a thief.
Oh yeah.

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Oh, so he will be tied with
Scorsese?

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Yeah, he sure will.
I'll have to catch a thief.

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No, bueno.
I did not enjoy that film.

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It's not a big fan, gorgeous to
look at, but not much going on

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there.
With Hitchcock, as with some of

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these other big name directors,
there is a tier of their films

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that is kind of like essential
viewing, not just.

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To watch their films.
But if you're going to be a fan

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of classic films, you have to
watch X number of their films.

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And then there's kind of a
second tier where it's not just

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all right, you watch these if
you're a completist, but it's

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also like, hey there, you know,
Hitchcock has these five more

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films in the IMDb Top 250.
So as you start to round out

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your education, you kind of have
to watch these ones too.

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And so where most directors
would already have like a

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massive falloff in their second
tier, directors like Hitchcock

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are still kind of working with
their A material.

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And so I picked 5 movies that I
I could have picked I think six

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or seven.
I just tried to pick five that I

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thought would would help round
out our classic movie viewing

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here, starting with Notorious, a
movie that I said last week I've

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never seen before.
Brad Yeah, Well, and the the

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fascinating thing for me is
that, you know, this is 1946.

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Before we got on the air, Bob,
you informed me that this is

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like his 12th, 15th, 18th movie.
Yeah, Hitchcock.

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Hitchcock made his bones in
England at the end of the silent

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era.
He didn't come to America until

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1940.
His first American film is a

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movie called Rebecca, which is a
movie that won Best Picture at

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the Academy Awards.
So he kind of arrived on the

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shores with The Big Bang.
And so by 46, yeah, he's not

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only one of the most famous film
makers in the world, but he is a

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very seasoned veteran here.
Yeah, which is.

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Which is interesting, because,
spoiler alert, there are things

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about this movie that felt less
polished than a lot of his later

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films.
You know, Brad, I have to agree.

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Like I said, I've never seen
this movie before.

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And there's a there's a you
know, he's making at least one

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movie a year at this point, but.
I kind of group this movie in

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with some of his other early
1940s films.

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So in 41 he makes a movie called
Suspicion with Cary Grants,

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which is considered, you know,
among his classics.

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He also makes a movie, I think
the year before this called

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Spellbound, which costars
Gregory Peck and Ingrid Bergman.

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And so in this one you've got
Cary Grant and Ingrid Bergman.

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And I've always just pictured
all three of those movies as

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kind of like this mishmash, and
I never knew where to start with

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any of them.
So I've never seen any of them.

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So this is kind of like knocking
out one of a trilogy for me.

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And I have to agree with you
man.

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I I was thinking about To catch
a Thief a lot as I watched this

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movie because it really finds
its footing in the second-half

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for me.
But the first half is kind of

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incomprehensible slash.
Very boring, yeah.

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And I don't know if we should
move into, Brad explains.

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But I am 100% with you.
It felt like I'm this is a very

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rare thing.
I think I've maybe said this

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once, maybe twice before in our
250 plus episodes, however many

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we've done.
I think this movie should have

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been a little longer.
That's a scorching hot take.

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It is a scorching hot take.
It's like it.

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What an hour and 42 minutes, I
think.

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It feels like free.
Well, that's the thing though.

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I feel like they needed more
time to develop the

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relationships and the the
characters and I feel like even

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just like 10 minutes hour and 53
hour 55 and you would have had

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just a little extra where it
didn't.

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It wouldn't have felt quite as
rushed.

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Well, let's go ahead and move
into, Brad explains.

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So that I can respond to what
you just said.

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But I love it when we already
give our thoughts on the movie

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at the six minute mark of the
episode.

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You're welcome.
As you and I know, Brad, we only

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need 60 seconds of a listener's
attention to be counted as a

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download.
So you know, folks, if you don't

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like where we're going with
this, thank you for your time.

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We'll see you next week.
But at this point we are going

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to move over to, Brad explains.
Brad's gonna give us the movie

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plots with only 60 seconds
ticking on the clock, so let's

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go ahead and do your take with
this little segment that we call

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Brad explains.
Brad Explains is the part of the

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podcast where Brad breaks down
the plot of the movie that he

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has just seen, often for the
first time.

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This is the first time watch
both for Brad and for myself.

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Brad, you know, we've already
tipped our hand a little bit.

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This movie doesn't totally work
for us, and I feel like

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sometimes that bleeds into, Brad
explains.

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I I sense that you have more
energy tonight than you have

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sometimes when you're not a fan
of a movie, like it hasn't quite

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approached that zone where you
just completely check out, you

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know, which bodes well for, Brad
explains.

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So you've got one minute on the
clock.

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Go ahead and spoil the whole
thing, because I don't know if

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we're going to give this movie
our recommendation or not.

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Anyway, 60 seconds.
Brad and go.

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The film Notorious is about a
daughter of a convicted German

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Nazi spy in America.
I'm I'm assuming that this is

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like set during the war.
Or immediately after.

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Like, kind of, Yeah, yeah, yeah.
So the daughter is played by

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Ingrid Bergman.
She is convinced by an American

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spy, basically played by Cary
Grant, to play the double agent,

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to go to South America and try
to infiltrate a ring of Nazi

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scientists.
And, you know, influencers and

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whatever they are, they love
Nazi people and Inger Bergman's

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going to take them down.
Bob, they have a party where

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they're trying to break into the
secret vault which is in the

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wine cellar where Cary Grant
finds out that they're storing

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uranium which is used to make
the atomic bomb 10 second, they

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try to poison Ingrid Bergman so
they can protect themselves,

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they being her now husband, the
German guy and his mother.

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Boom, boom.
That was actually a really good,

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Brad explains.
And I'll tell you why.

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Because you broke down all of
the things that happen in the

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movie.
And you didn't really get into

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themes of the movie.
And I think that's a really good

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jumping off point because part
of the reason this movie doesn't

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work for me, Brad, is that I was
having to both read along with

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what was happening in the movie
on like the IMDb synopsis page.

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Because there were some things
in the script that weren't

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totally clear.
And I felt like it was really

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jumping around and kind of
leaving out crucial elements.

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Yes.
And at the same time, I was also

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reading like the Wikipedia page
and you know, like the Criterion

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Collection essay and which,
which focused more on themes of

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the movie.
Roger Ebert loved this movie,

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thought it was one of the 10
best films ever made on one of

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his lists that he made that it
was his favorite Alfred

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Hitchcock movie and went in on
the themes of love and trust and

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betrayal in the movie.
And I started to put the the

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puzzle together a little bit.
And I feel dumb saying this

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because I think fans of this
movie will will know this right

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off the the jump.
But this is a movie that is

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primarily structured like a
romantic melodrama of the time

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and he kind of shoe not
shoehorns in.

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He kind of Trojan horses, a spy
thriller into the whole thing.

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And then by the end of the
movie, the spy thriller elements

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take over.
And I think when you view it

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through that lens, the movie
makes a lot more sense that it

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is trying, at the very least in
the first half.

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To establish this deep,
dramatic, whirlwind romance of

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forbidden love between Ingrid
Bergman and Cary Grants, and as

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this sort of love triangle forms
between Cary Grant, Ingrid

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Bergman, and her Nazi husband,
played by Claude Raines, it it

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tests the boundaries of all
three of them.

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And it really gets into the
themes that Hitchcock's trying

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to explore.
Now, whether or not it succeeds

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at that, I think it's another
story, but I thought that was

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really helpful for me to read.
Because I wasn't quite seeing it

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on the screen, and once someone
kind of told me the lens to

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start looking at the movie, I
thought that the structure of it

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made a lot more sense.
You know, regardless of whether

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or not it was actually
successful at that.

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See Bob, you did about a good as
good a job as Hitchcock did of

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explain explaining the themes.
What what are the themes?

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I didn't catch anything about
the actual themes of the movie

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in there.
Well, I definitely said them

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explicitly.
Love and trust and betrayal.

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And I talked about romantic
melodrama.

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Damn it, Brad, just listen to me
once in a while, man.

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Jeez, I mean, I was listening,
but there's a whole lot of words

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and I don't know if anything got
said.

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And I think that's like kind of
my issue with the movie is like,

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yeah, there's there's themes of
love and and betrayal and and

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mistrust, but there's no
establishment of who these

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characters are.
Yes, that is done compellingly.

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I agree.
And we were going to get there,

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Brad, and you just had to insult
me along the way just to piss me

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off as we jump into this journey
today.

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Brad it makes makes for better
episode.

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I hate you so much sometimes.
All right.

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So yeah, I guess let's just
start there.

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We can talk about the
performances and stuff later.

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The movie doesn't do a good job
establishing what it wants to be

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about.
And the point I was trying to

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make is.
Was trying to be kind to the

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movie by saying like, oh, once
someone explicitly told me what

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to look for, I could see it.
But the movie does a really bad

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job of just showing it.
So the movie starts out with

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Bergman at her father's trial
getting convicted.

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You can tell that he is some
sort of a Nazi because he's

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getting convicted for treason.
She has a party at her house

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that night where she gets
really, really drunk to try to

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forget about the whole thing.
And there's this mysterious guy

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00:12:28,600 --> 00:12:31,320
at her house, Cary Grants.
You have no idea who he is or

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00:12:31,320 --> 00:12:34,670
what he's there for.
And you don't really know, like,

225
00:12:34,670 --> 00:12:36,390
what her whole deal is.
You know, that she's the

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00:12:36,390 --> 00:12:38,510
daughter of a Nazi.
And that can't be good.

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00:12:38,910 --> 00:12:41,590
And then all of a sudden she's
like, I'm very drunk.

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00:12:41,710 --> 00:12:44,510
Let's go for a drive.
And he goes, sure.

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00:12:44,990 --> 00:12:47,310
And immediately I'm like, what
is going on in this movie?

230
00:12:47,310 --> 00:12:49,190
Like, where are we going?
What are we doing?

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00:12:49,630 --> 00:12:52,790
There's an extended sequence of
her drunk driving and getting

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00:12:52,790 --> 00:12:55,070
pulled over by the cops.
And then you, you kind of start

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00:12:55,070 --> 00:12:58,190
to piece together, oh, I think
Cary Grant's working for

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00:12:58,190 --> 00:13:00,550
somebody in the government
because he gets them off of a

235
00:13:00,550 --> 00:13:04,400
ticket.
And then immediately you get

236
00:13:04,400 --> 00:13:08,880
thrust into this whole espionage
thing where they tell Ingrid

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00:13:08,880 --> 00:13:11,320
Bergman like, hey, come come
with me, we're going to go down

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00:13:11,320 --> 00:13:13,320
to South America.
And now they're there.

239
00:13:13,320 --> 00:13:15,440
And then all of a sudden she's
in love with Cary Grant.

240
00:13:15,440 --> 00:13:16,800
And that comes out of left
field.

241
00:13:17,320 --> 00:13:19,920
And we spend 20 minutes with
them just being kind of

242
00:13:19,920 --> 00:13:22,560
frolicky.
And then the movie finally

243
00:13:22,560 --> 00:13:26,360
clicks into place enough to tell
us what it's about at like, I

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00:13:26,360 --> 00:13:31,100
don't know, the 35 minute mark.
Is that fair?

245
00:13:31,100 --> 00:13:34,500
Like, is that a good timeline of
when we finally start getting

246
00:13:34,500 --> 00:13:37,780
crucial information?
Yeah, I I think so.

247
00:13:37,980 --> 00:13:42,260
And the the hard part is that
even as you start to get crucial

248
00:13:42,260 --> 00:13:46,900
information, you're like, oh,
OK, that there's this woman who

249
00:13:46,900 --> 00:13:49,700
kind of sucks and this guy's
trying to get her to do things

250
00:13:49,700 --> 00:13:51,340
for her, but he falls in love
with her.

251
00:13:51,340 --> 00:13:55,340
Like I think it comes back to
kind of something you said

252
00:13:55,340 --> 00:13:59,810
earlier that the movie doesn't
show it to you it it tells you a

253
00:13:59,810 --> 00:14:03,130
lot of things.
And Cary Grant has to deliver

254
00:14:03,130 --> 00:14:07,650
dialogue that's just bad and he
does his best with it because

255
00:14:07,650 --> 00:14:11,250
he's Cary freaking Grant.
But at the end of the day when

256
00:14:11,250 --> 00:14:16,170
he has to tell the audience
you're a drunken and and you you

257
00:14:16,170 --> 00:14:19,090
always will be and you're just
chalking up things on your night

258
00:14:19,090 --> 00:14:23,490
stand and sleeping around and
and like you're basically he

259
00:14:23,490 --> 00:14:26,930
basically just says you're a
whore and you always will be

260
00:14:27,370 --> 00:14:31,810
right and and and that's that's
her character arc.

261
00:14:32,570 --> 00:14:34,770
Well, as he sees it, right.
Because they're both.

262
00:14:34,970 --> 00:14:36,530
Yeah.
They're both, like hiding things

263
00:14:36,530 --> 00:14:39,450
from each other.
And I think that, like, again,

264
00:14:39,450 --> 00:14:44,530
what they're trying to do is the
romantic comedy thing where it's

265
00:14:44,530 --> 00:14:47,490
like, oh, there's a there's a
breakdown of communication that

266
00:14:47,490 --> 00:14:51,290
could have been easily solved if
they just said the thing to each

267
00:14:51,290 --> 00:14:52,890
other.
And it gets to the point where

268
00:14:52,890 --> 00:14:55,870
like by the end of the movie.
The Nazis have figured out that

269
00:14:55,870 --> 00:14:59,110
Ingrid Bergman is an American
agent, and they start poisoning

270
00:14:59,110 --> 00:15:02,670
her slowly.
And she and Cary Grant are at

271
00:15:02,670 --> 00:15:05,230
such odds because they have
fallen in love.

272
00:15:05,510 --> 00:15:08,190
And then she gets this
assignment to infiltrate this

273
00:15:08,190 --> 00:15:11,350
Nazi ring, which then leads to
her getting a marriage proposal

274
00:15:11,350 --> 00:15:14,310
from Claude Raines.
And the Americans basically ask

275
00:15:14,310 --> 00:15:16,470
her very nicely, will you please
marry this guy?

276
00:15:16,470 --> 00:15:18,830
And she goes, sure.
So then she does that and now

277
00:15:18,830 --> 00:15:20,670
they're mad.
Cary Grant and her are mad at

278
00:15:20,670 --> 00:15:23,210
each other because.
She wants him to fight for her

279
00:15:23,210 --> 00:15:25,250
and he won't.
And he thinks that she's just

280
00:15:25,530 --> 00:15:27,810
back to her old ways and being
promiscuous.

281
00:15:27,810 --> 00:15:32,650
And so, you know, it it plays
like a romantic comedy that has

282
00:15:32,650 --> 00:15:37,250
absolutely no laughs in it.
And I think that, like, these

283
00:15:37,250 --> 00:15:42,410
two actors are such good actors
that it almost still works.

284
00:15:43,050 --> 00:15:48,290
But the plot mechanics of that
part of the movie really fall

285
00:15:48,290 --> 00:15:50,100
flat for me.
Yeah.

286
00:15:50,260 --> 00:15:53,780
Well, and especially even when
they're talking about the people

287
00:15:53,780 --> 00:15:58,900
that she needs to go after.
The the Americans know that Alex

288
00:15:58,900 --> 00:16:02,300
Sebastian, played by Claude
Raines, was a friend of her

289
00:16:02,300 --> 00:16:04,180
father's.
And so they're just like, well,

290
00:16:04,180 --> 00:16:06,780
you know, maybe she can get in,
but then she just kind of

291
00:16:06,780 --> 00:16:11,060
conveniently goes, yes.
And he was also in love with me.

292
00:16:11,340 --> 00:16:13,540
And they're like, how
convenient.

293
00:16:14,300 --> 00:16:20,530
Brilliant.
And it just it just feels very

294
00:16:20,530 --> 00:16:24,850
contrived and like it's not even
like it's like plot holes or

295
00:16:24,850 --> 00:16:30,650
anything like it, it it's just
that the plot is like spoon fed

296
00:16:30,650 --> 00:16:33,610
to the audience.
Yeah, I was going to say I don't

297
00:16:33,610 --> 00:16:35,290
even know if contrived is the
right word.

298
00:16:35,290 --> 00:16:39,130
It it feels like spread thin.
It's like there's very little

299
00:16:39,130 --> 00:16:42,400
there to develop.
And they're trying to hold like

300
00:16:42,400 --> 00:16:44,960
2 halves of a plot in tension
with each other.

301
00:16:44,960 --> 00:16:48,120
And the 1/2 is this love
triangle and the other half is

302
00:16:48,120 --> 00:16:50,640
the actual like infiltrating
Nazi stuff.

303
00:16:51,240 --> 00:16:54,920
And they try to put them both on
equal footing, but not only are

304
00:16:54,920 --> 00:16:59,160
they not of equal importance or
equal thrills, I guess, but

305
00:16:59,160 --> 00:17:04,560
they're also like one is almost
underdeveloped because you don't

306
00:17:04,560 --> 00:17:06,720
get enough Nazi infiltration
stuff.

307
00:17:07,250 --> 00:17:10,890
Because they're trying to overdo
the love stuff, and there's just

308
00:17:10,890 --> 00:17:14,170
not enough material there to
justify how much time they spend

309
00:17:14,170 --> 00:17:16,530
on it.
OK, let's stop crapping all over

310
00:17:16,530 --> 00:17:18,170
the movie.
Let's just talk about

311
00:17:18,170 --> 00:17:20,210
performances.
Get into our normal stuff.

312
00:17:20,650 --> 00:17:24,130
Let's start with the two leads,
because I think we should move

313
00:17:24,130 --> 00:17:27,650
to Claude Rains when we start
talking about the good stuff of

314
00:17:27,650 --> 00:17:31,090
the movie.
Like, does that make sense?

315
00:17:31,090 --> 00:17:33,650
Like, I I like that part of the
movie better.

316
00:17:33,650 --> 00:17:35,570
So I think maybe he'll be our
bridge to that.

317
00:17:36,050 --> 00:17:40,130
But Cary Grant and Ingrid
Bergman are so fascinating to me

318
00:17:40,130 --> 00:17:43,530
in this movie, Brad, because I
think, especially towards the

319
00:17:43,570 --> 00:17:47,410
end of the movie, I really do
buy that they have like a deep

320
00:17:47,410 --> 00:17:50,090
abiding love for each other.
When he rescues her at the end

321
00:17:50,090 --> 00:17:51,890
of the film, it's like it's
really well done.

322
00:17:52,370 --> 00:17:57,850
But I also wouldn't say they
have chemistry, quote UN quote,

323
00:17:58,450 --> 00:18:01,890
Like there are no sparks flying
off this couple and part of it

324
00:18:01,890 --> 00:18:04,010
is because they hate each other
for most of the movie.

325
00:18:04,490 --> 00:18:06,770
But even then, like, you know,
When Harry Met Sally is all

326
00:18:06,770 --> 00:18:08,730
about two people who hate each
other the whole movie.

327
00:18:09,690 --> 00:18:14,010
I'm never at a loss for
believing that both of these

328
00:18:14,010 --> 00:18:17,130
people are, like, really horny
and really sexy.

329
00:18:17,850 --> 00:18:20,330
And they like, they have a great
couple scenes early in the early

330
00:18:20,330 --> 00:18:23,930
going where they're like just
being horny at each other.

331
00:18:24,450 --> 00:18:27,370
And it's really compelling
because they're both, like I

332
00:18:27,370 --> 00:18:30,610
said, phenomenal actors.
Do I?

333
00:18:30,610 --> 00:18:32,930
Do we need to add that into the
director scoring?

334
00:18:33,390 --> 00:18:35,350
How do they direct compelling
horniness?

335
00:18:35,910 --> 00:18:38,030
I do.
I do like the idea of be horny

336
00:18:38,030 --> 00:18:41,830
at each other, but I guess the
point I'm trying to make is like

337
00:18:42,710 --> 00:18:46,310
the the sparks don't fly the way
they do with like Cary Grant and

338
00:18:46,310 --> 00:18:49,790
Audrey Hepburn and or Ingrid
Bergman and Humphrey Bogart.

339
00:18:49,910 --> 00:18:52,670
Like, they're a believable
couple and I see what they're

340
00:18:52,670 --> 00:18:55,270
trying to do and it's a kind of
a much sexier thing.

341
00:18:55,710 --> 00:19:00,350
But I don't really feel the IT
factor off of them.

342
00:19:01,100 --> 00:19:02,580
Well.
And the and I think that this is

343
00:19:02,580 --> 00:19:09,340
where Hitchcock's avoidance and
hatred of the Hayes code really

344
00:19:09,340 --> 00:19:12,340
kind of comes into play.
Because you know the the whole

345
00:19:12,340 --> 00:19:15,700
scene where they're on the
balcony making out like the

346
00:19:15,700 --> 00:19:17,660
Hayes code at this point said
you weren't allowed to kiss for

347
00:19:17,660 --> 00:19:21,180
more than three seconds.
And he has them making out for

348
00:19:21,180 --> 00:19:24,660
like a minute and a half.
But it's but it's just like, you

349
00:19:24,660 --> 00:19:27,540
know, pecs and kisses on the
neck and they're supposed to

350
00:19:27,540 --> 00:19:32,650
talk while they're doing it and
it just, it feels way more

351
00:19:32,650 --> 00:19:35,050
awkward than just had.
Yeah.

352
00:19:35,050 --> 00:19:37,650
And granted, he's not allowed to
do this, but like, it feels a

353
00:19:37,650 --> 00:19:41,730
lot more awkward than a film 10
years later when you just have

354
00:19:41,730 --> 00:19:45,570
like a 25 second passionate kiss
where you're like, Oh yeah, they

355
00:19:45,690 --> 00:19:47,970
they really like each other.
I don't know.

356
00:19:47,970 --> 00:19:51,890
It felt it just felt that whole
scene felt kind of funky to me.

357
00:19:53,010 --> 00:19:55,530
Cary Grant is an interesting
figure in this movie.

358
00:19:55,610 --> 00:19:58,690
So five years before this, he
plays a character in the movie

359
00:19:58,690 --> 00:20:02,030
Suspicion, that is.
Is he a villain?

360
00:20:02,030 --> 00:20:03,750
Is he not a villain?
And that's what the whole movie

361
00:20:03,750 --> 00:20:05,190
is about.
And there's actually like some

362
00:20:05,190 --> 00:20:09,110
really cool nods in this movie
to the movie suspicion where he

363
00:20:09,110 --> 00:20:11,630
is suspected of poisoning his
wife in that movie.

364
00:20:12,430 --> 00:20:16,430
And Grant was really, really
good at leveraging his own movie

365
00:20:16,430 --> 00:20:19,750
star persona to whatever the
character needed.

366
00:20:19,750 --> 00:20:24,150
So like if he needed to be a
charming, perhaps murderer, he

367
00:20:24,150 --> 00:20:26,590
could play it that way.
He could be kind of uneasy.

368
00:20:26,590 --> 00:20:29,030
Cary Grant.
He could also be like the

369
00:20:29,030 --> 00:20:32,390
absolute buffoon, falling over
himself in a bunch of slapstick

370
00:20:32,390 --> 00:20:34,670
comedies.
He could play loose with it like

371
00:20:34,670 --> 00:20:36,750
a George Clooney type, like he
doesn't charade.

372
00:20:37,190 --> 00:20:44,310
This movie is kind of like in
between charming and super duper

373
00:20:44,590 --> 00:20:48,030
scary Cary Grant and it's it
kind of comes across mostly as

374
00:20:48,030 --> 00:20:51,630
like restraint and I think it
does a good job of showing his

375
00:20:51,630 --> 00:20:54,190
range.
And I don't know if anyone else

376
00:20:54,190 --> 00:20:57,300
would have been better in this
role, so I don't want to crap on

377
00:20:57,300 --> 00:20:59,580
Cary Grant.
I just don't know if this is a

378
00:20:59,580 --> 00:21:02,220
really compelling character at
all.

379
00:21:02,700 --> 00:21:06,460
No, I I 100% agree, and I think
it's because he's not allowed to

380
00:21:06,460 --> 00:21:09,060
lean into either role far
enough.

381
00:21:09,740 --> 00:21:15,020
Like he's not allowed to be the
scorned lover for enough of the

382
00:21:15,020 --> 00:21:16,780
film.
Because at that point, the film

383
00:21:16,780 --> 00:21:20,500
is mostly focused on Claude
Raines and Ingrid Bergman, and

384
00:21:20,500 --> 00:21:23,620
yet he's also not allowed to be
the Super spy.

385
00:21:24,080 --> 00:21:27,360
Other than one scene where he
knocks a wine bottle off and

386
00:21:27,360 --> 00:21:29,800
cleans it up.
But you know what I mean?

387
00:21:29,800 --> 00:21:32,840
Like that's the extent of him
being a super spy.

388
00:21:32,840 --> 00:21:37,920
And I I think the the scene that
epitomizes the lack of chemistry

389
00:21:37,920 --> 00:21:41,960
between Ingrid and Kerry, as
well as just kind of the the

390
00:21:41,960 --> 00:21:45,840
awkwardness of some of the
transitions of the film is when

391
00:21:45,840 --> 00:21:50,400
they are caught by Claude Raines
when you know he kisses her and

392
00:21:50,400 --> 00:21:52,960
like it.
It just didn't.

393
00:21:53,500 --> 00:21:57,700
Work he like he kisses her and
he tells her to push him off but

394
00:21:57,700 --> 00:22:01,140
then she doesn't do that and
like it should have been I I

395
00:22:01,140 --> 00:22:02,660
don't know, this is just my
brain.

396
00:22:02,860 --> 00:22:05,220
It should have been like, I'm
going to kiss you and then you

397
00:22:05,220 --> 00:22:10,020
immediately slap me and no, they
like passionately kissed And

398
00:22:10,020 --> 00:22:13,820
then she casually is like, oh, I
don't actually love him.

399
00:22:13,820 --> 00:22:19,860
He forced himself on me and
you're like, well, none of none

400
00:22:19,860 --> 00:22:22,860
of this is is working and I for
me.

401
00:22:23,560 --> 00:22:25,840
I don't think it's Cary Grant
and Ingrid Bergman.

402
00:22:25,920 --> 00:22:28,200
I think it's Hitchcock and the
script.

403
00:22:28,200 --> 00:22:30,160
Yeah, I was just saying it's
more the script than Hitchcock.

404
00:22:30,160 --> 00:22:32,200
And The funny thing is this
script gets nominated for an

405
00:22:32,200 --> 00:22:34,160
Academy Award.
It is apparently a well

406
00:22:34,160 --> 00:22:37,440
respected script even today.
And I think that has a lot more

407
00:22:37,440 --> 00:22:41,560
to do with like the plot
mechanics and the way that the

408
00:22:41,560 --> 00:22:44,600
movie ends than it does with
some of these, what I would call

409
00:22:44,600 --> 00:22:47,520
like setup scenes because the
setup is so sloppy.

410
00:22:47,920 --> 00:22:49,880
But I don't want to get too far
away from our two leads.

411
00:22:49,880 --> 00:22:51,440
And let's talk about Ingrid
Bergman.

412
00:22:52,110 --> 00:22:55,790
Primarily because I came away
from this movie even more

413
00:22:55,790 --> 00:22:58,750
impressed with Ingrid Bergman as
an actress than I've ever been.

414
00:22:58,990 --> 00:23:01,270
And I I love Casablanca's maybe
my favorite movie.

415
00:23:01,870 --> 00:23:07,230
She is next level good in this
movie, Brad in a movie that I

416
00:23:07,230 --> 00:23:10,670
don't know that I love.
If if she is not playing this

417
00:23:10,670 --> 00:23:15,070
lead role, I think it's an even
worse movie. 100% dude Ingrid

418
00:23:15,070 --> 00:23:19,820
has an ability.
To not only keep the camera like

419
00:23:19,860 --> 00:23:23,460
magnetically attached to her and
your attention attached to her,

420
00:23:24,700 --> 00:23:29,340
I think that what she does with
her eyes in this movie as she

421
00:23:29,580 --> 00:23:33,780
like flashes hurt and betrayal
and then covers it up with an

422
00:23:33,780 --> 00:23:36,660
iron wall really quickly is
just.

423
00:23:37,320 --> 00:23:40,560
It like it's act like it's
acting 400.

424
00:23:40,560 --> 00:23:43,440
Like she is teaching an advanced
class and acting here.

425
00:23:43,440 --> 00:23:46,760
Yeah, talk about knowing your
own strengths and leaning into

426
00:23:46,760 --> 00:23:48,960
them.
Like the scene where she figures

427
00:23:48,960 --> 00:23:52,600
out she's being poisoned and
what because they say like don't

428
00:23:52,680 --> 00:23:57,000
don't pick up her coffee and the
way her eyes are just putting

429
00:23:57,000 --> 00:24:01,840
things together in that room.
It is such compelling stuff.

430
00:24:02,080 --> 00:24:04,080
She is so good at playing
scared.

431
00:24:04,080 --> 00:24:07,340
She is so good at playing
confident and she has to do both

432
00:24:07,340 --> 00:24:11,540
of them in this movie and the
emotional range like it's it's

433
00:24:11,540 --> 00:24:15,140
just a master class man.
I cannot say enough good things

434
00:24:15,140 --> 00:24:17,620
about her.
When I haven't seen like a ton

435
00:24:17,620 --> 00:24:20,780
of Ingrid Bergman movies, but I
feel like in this one something

436
00:24:20,780 --> 00:24:24,420
that I enjoyed is that she
allows her German accent to just

437
00:24:24,420 --> 00:24:28,380
slightly come through throughout
the film and I think it just

438
00:24:28,380 --> 00:24:31,060
adds a little bit to that
tension of like.

439
00:24:31,730 --> 00:24:36,930
She is trying to infiltrate this
German scientist spy ring and

440
00:24:36,930 --> 00:24:39,890
she's trying to be one of them.
And and there's just a little

441
00:24:39,890 --> 00:24:42,930
hint of it coming through that I
I personally thought was really

442
00:24:42,930 --> 00:24:46,130
well done.
Yeah, she has that, like just

443
00:24:46,130 --> 00:24:48,530
enough of a European accent.
She's actually a Swedish

444
00:24:48,530 --> 00:24:50,770
actress.
She's not German, but like the

445
00:24:50,770 --> 00:24:53,570
Swedishness sounds kind of
German so that she'd like, you

446
00:24:53,570 --> 00:24:55,730
know, it.
It's to her benefit in a movie

447
00:24:55,730 --> 00:24:58,610
like this.
And I think that that's a good

448
00:24:58,610 --> 00:25:01,610
segue into talking about that
part of the movie where she is

449
00:25:01,610 --> 00:25:05,530
married to Claude Rains.
Now I have gone on record saying

450
00:25:05,530 --> 00:25:07,650
Claude Rains is one of my
favorite actors of all time.

451
00:25:07,850 --> 00:25:11,410
He he is like a Thomas Mitchell
in that he's always playing a

452
00:25:11,410 --> 00:25:14,290
character actor and he is, I
think to this day

453
00:25:14,330 --> 00:25:18,170
underappreciated for what he
brings to the table in this

454
00:25:18,170 --> 00:25:20,170
movie.
He does something that I very

455
00:25:20,170 --> 00:25:23,410
rarely see him do, and that is
kind of literally and

456
00:25:23,410 --> 00:25:26,090
figuratively let his hair down a
little.

457
00:25:26,450 --> 00:25:30,330
Like, he is much more suave.
And he's playing, even though

458
00:25:30,330 --> 00:25:33,730
he's clearly an older man in
this movie, he's playing it with

459
00:25:33,730 --> 00:25:36,850
an energy of a younger man.
And I think that's really

460
00:25:36,850 --> 00:25:39,130
interesting because even in the
script he talks about like being

461
00:25:39,130 --> 00:25:42,490
a man of my age, but he's
playing it kind of loose.

462
00:25:42,530 --> 00:25:46,250
And he is, I mean, you know, for
lack of a better word, like he

463
00:25:46,250 --> 00:25:48,250
is a romantic lead in this
movie.

464
00:25:48,770 --> 00:25:51,530
And I think it works really,
really well because you've seen

465
00:25:51,530 --> 00:25:55,020
him in movies like Mr. Smith
Goes to Washington, where he's

466
00:25:55,020 --> 00:25:56,940
playing much older than he is in
real life.

467
00:25:57,260 --> 00:25:59,580
In Casablanca.
You know, he's the womanizer,

468
00:25:59,580 --> 00:26:03,740
but he's a very prim and proper
sort of officer, and that's kind

469
00:26:03,740 --> 00:26:05,660
of what you're used to seeing
from Claude Raines.

470
00:26:05,660 --> 00:26:09,260
And so to see him in like in a
bathrobe and just kind of

471
00:26:09,260 --> 00:26:13,580
flirting with Ingrid Bergman, it
works really, really well.

472
00:26:13,580 --> 00:26:15,660
And it's a side of him I've
never seen before.

473
00:26:15,940 --> 00:26:20,060
And on top of that, you see him,
like truly smitten.

474
00:26:20,880 --> 00:26:24,280
And later in the film when he
finds out that she's an American

475
00:26:24,280 --> 00:26:28,800
agent, like he like he plays
heartbroken and devastated

476
00:26:28,800 --> 00:26:32,040
incredibly well.
And I think it his mother is a

477
00:26:32,040 --> 00:26:35,440
perfect foil in that scene to
you know kind of poke and prod

478
00:26:35,440 --> 00:26:39,440
at him and the the way he's
acting and it like it just has

479
00:26:39,440 --> 00:26:42,240
it.
It's a perfect setup to show him

480
00:26:42,240 --> 00:26:47,920
processing what's going on and I
think that's it seems like that.

481
00:26:48,560 --> 00:26:53,440
That this movie needed more of
it, needed more opportunities

482
00:26:53,440 --> 00:26:56,760
for the characters just to sit
back and process what was going

483
00:26:56,760 --> 00:27:00,760
on in this, you know,
constructed world of of Nazi

484
00:27:00,760 --> 00:27:05,480
spies that the other characters
didn't get to have and Claude

485
00:27:05,480 --> 00:27:08,800
Rains does get to have.
And you know his mother is 1

486
00:27:08,800 --> 00:27:11,760
dimensional and she's exactly
what she needs to be for Claude

487
00:27:11,760 --> 00:27:15,520
Rains to develop.
And I I wish they had more of it

488
00:27:15,520 --> 00:27:17,960
because Claude takes it and runs
with it, right?

489
00:27:18,410 --> 00:27:19,890
Yeah.
I think it in a lot of ways what

490
00:27:19,890 --> 00:27:23,050
this movie is missing.
It's not just like the the kind

491
00:27:23,050 --> 00:27:26,450
of hyper focused direction that
Hitchcock has in the later

492
00:27:26,450 --> 00:27:30,330
stages of his career, but it's
also that, like, it just doesn't

493
00:27:30,330 --> 00:27:33,290
have that kind of weirdness that
Hitchcock gets into sometimes.

494
00:27:33,370 --> 00:27:37,010
Like the mother character in
this movie is really similar to

495
00:27:37,010 --> 00:27:40,090
the mother character in Psycho.
Like, there's a weird, kind of,

496
00:27:40,090 --> 00:27:44,150
like, psychosexual thing going
on there, and Claude Rains is

497
00:27:44,150 --> 00:27:47,750
very clearly just getting cooked
and I guess is okay with it.

498
00:27:47,750 --> 00:27:52,110
You know, like there's this
unexplored, weird sexual

499
00:27:52,110 --> 00:27:55,150
dynamics in this movie.
And I'm not saying, like, I need

500
00:27:55,190 --> 00:27:56,950
a treatise on all of those
things.

501
00:27:57,230 --> 00:28:01,070
But I also feel like as you get
farther into Hitchcock's career,

502
00:28:01,550 --> 00:28:04,550
he's willing to kind of lead
into those weirdness factors a

503
00:28:04,550 --> 00:28:07,190
little bit more.
When I was reading a little bit

504
00:28:07,190 --> 00:28:09,910
about this movie today, Brad,
they they said like this is the

505
00:28:09,910 --> 00:28:13,610
first movie where Hitchcock
really started to work with

506
00:28:13,610 --> 00:28:18,370
themes like the mother character
and he he has like overbearing

507
00:28:18,370 --> 00:28:20,610
moms as a theme in all of his
movies.

508
00:28:20,610 --> 00:28:23,410
Pretty much after this, like
even North by Northwest, it's

509
00:28:23,410 --> 00:28:25,450
played for laughs.
But that's what the mother

510
00:28:25,450 --> 00:28:26,810
character in that movie is like
I.

511
00:28:27,130 --> 00:28:28,610
Wonder what Hitchcock's mom was
like?

512
00:28:28,610 --> 00:28:30,730
Yeah, I think that's what his
biographers are always saying.

513
00:28:30,730 --> 00:28:35,890
Like he he ties his his own
weird upbringing with his mom

514
00:28:35,890 --> 00:28:39,650
into these movies and it's
interesting and I think it's

515
00:28:39,650 --> 00:28:42,850
noteworthy is like a footnote to
his career, but it just feels a

516
00:28:42,850 --> 00:28:45,610
little under baked.
So are you saying that you

517
00:28:45,610 --> 00:28:47,410
didn't like the mother character
in this?

518
00:28:47,850 --> 00:28:49,010
I'm not saying I didn't like
her.

519
00:28:49,010 --> 00:28:51,170
I think she's like, serves the
purpose that she needs to serve

520
00:28:51,170 --> 00:28:54,650
as basically like a plot device.
I guess what I'm what I'm saying

521
00:28:54,650 --> 00:28:59,490
is like, there are, even if you
don't, like, add another scene

522
00:28:59,490 --> 00:29:02,170
where Cary Grant's like, huh, so
your husband's a weirdo, huh?

523
00:29:02,730 --> 00:29:06,810
Like, there's just, there's ways
that you could have kind of

524
00:29:07,240 --> 00:29:11,200
leaned into the eyebrow raising
factor of it all.

525
00:29:11,200 --> 00:29:14,040
Like, Ingrid Bergman doesn't
ever seem to be like, huh,

526
00:29:14,680 --> 00:29:16,520
that's a weird dynamic, you
know?

527
00:29:16,520 --> 00:29:20,280
And I think that, like, even in
some of the direction of the

528
00:29:20,280 --> 00:29:23,760
movie, Hitchcock could have
just, like, directed his actors

529
00:29:23,760 --> 00:29:27,720
to milk moments a little more or
be a little more confused or

530
00:29:27,720 --> 00:29:30,080
curious.
It just seems like there's

531
00:29:30,080 --> 00:29:33,560
something there that they
completely leave on the table

532
00:29:33,840 --> 00:29:36,400
and never touch.
And I don't know if that has to

533
00:29:36,400 --> 00:29:40,280
do with the Hays Code or what,
but it's an interesting thing in

534
00:29:40,280 --> 00:29:44,040
a movie about a weird a weirdo
Nazi who lives in South America.

535
00:29:44,360 --> 00:29:46,640
And I'm like, that would have
been interesting if they had

536
00:29:46,640 --> 00:29:48,800
mentioned that or explored it at
all.

537
00:29:49,240 --> 00:29:51,040
Yeah, I'm.
I'm going to be honest with you,

538
00:29:51,040 --> 00:29:51,680
Bob.
I don't.

539
00:29:51,960 --> 00:29:55,200
I don't think that there was as
much weird sexual tension

540
00:29:55,200 --> 00:29:56,680
between Claude Raines and his
mom.

541
00:29:56,680 --> 00:29:59,770
I'm not saying sexual tension.
I'm just saying like the way

542
00:29:59,770 --> 00:30:04,090
that he becomes a little boy
around her and is constantly

543
00:30:04,090 --> 00:30:06,050
like going to her for help and
aid.

544
00:30:06,370 --> 00:30:10,370
It's a very clearly like there's
some Freudian stuff going on in

545
00:30:10,370 --> 00:30:12,410
this movie.
I just think it's an interesting

546
00:30:12,410 --> 00:30:14,890
choice.
I actually did not expect to

547
00:30:14,890 --> 00:30:17,490
spend multiple minutes talking
about this one plot point.

548
00:30:17,530 --> 00:30:21,330
But I guess what I'm saying is
it is just a microcosm of the

549
00:30:21,330 --> 00:30:24,610
fact that like a lot of this
movie feels under baked and that

550
00:30:24,610 --> 00:30:27,850
when Hitchcock finally decides
to just make it a spy thriller

551
00:30:27,850 --> 00:30:30,850
in the last half hour, the movie
really works for me.

552
00:30:31,290 --> 00:30:34,890
It's just all of these either
underdeveloped things and or

553
00:30:34,890 --> 00:30:38,850
loose threads that never get
connected that make it kind of a

554
00:30:38,850 --> 00:30:40,730
frustrating experience overall
for me.

555
00:30:41,170 --> 00:30:43,930
Yeah, no, I I'm 100% with you
there.

556
00:30:43,930 --> 00:30:49,250
I I think that with the entire
film, yeah, Half Baked is a good

557
00:30:49,250 --> 00:30:52,050
way of putting it.
It feels like the editing is

558
00:30:52,050 --> 00:30:53,870
like.
Whoa, we're done now.

559
00:30:53,990 --> 00:30:56,150
Next.
And then.

560
00:30:56,630 --> 00:30:57,790
Yeah.
And then there are times where

561
00:30:57,790 --> 00:31:02,230
it's like we have been watching
them, you know, fall in love and

562
00:31:02,230 --> 00:31:04,430
lovey, dovey eyes at each other
for 15 minutes.

563
00:31:04,430 --> 00:31:06,830
And then all of a sudden they're
like in another country.

564
00:31:06,830 --> 00:31:08,230
And it's been like weeks and
weeks.

565
00:31:08,470 --> 00:31:10,190
And they're like, all right, so
you're going to marry this guy?

566
00:31:10,270 --> 00:31:11,470
And I'm like, wait a minute,
what?

567
00:31:12,430 --> 00:31:14,150
How much time did we skip just
now?

568
00:31:15,010 --> 00:31:18,010
Also, I think that you've always
just been a whore and I will

569
00:31:18,010 --> 00:31:21,450
never trust you.
Wait, what?

570
00:31:22,050 --> 00:31:24,930
What is going on here?
I think this is the perfect

571
00:31:24,930 --> 00:31:26,890
place, Brad.
On that note, you know, on the

572
00:31:26,890 --> 00:31:28,330
note that you always want to end
on right there.

573
00:31:28,850 --> 00:31:30,450
This is a perfect place for us
to stop.

574
00:31:30,450 --> 00:31:33,650
Because I do want to talk about
things that really, really

575
00:31:33,650 --> 00:31:35,890
worked for me about this movie
when we come back.

576
00:31:36,170 --> 00:31:39,250
And almost all of them have to
do with Hitchcock's direction

577
00:31:39,250 --> 00:31:42,380
and his visual style.
So let's stop here.

578
00:31:42,540 --> 00:31:45,100
Let's drink this 1792, and then
we'll come back and give the

579
00:31:45,100 --> 00:31:47,140
movie a little bit of love.
What do you say?

580
00:31:47,900 --> 00:31:55,300
Let's get to it.
All right.

581
00:31:55,580 --> 00:31:59,460
So today we are checking out
1792 Small Batch.

582
00:31:59,740 --> 00:32:02,900
Brad, believe it or not, I think
this is the 1st 1792 product

583
00:32:02,900 --> 00:32:06,380
we've ever had on the show,
which is crazy to me because

584
00:32:06,380 --> 00:32:08,660
I've had a bottle of it on my
shelf for years.

585
00:32:09,090 --> 00:32:10,690
I have a bottle of Foolproof on
my shelf.

586
00:32:10,690 --> 00:32:12,410
It's some of my favorite
whiskey.

587
00:32:12,850 --> 00:32:17,290
It's really, really good stuff.
And we actually had a listener

588
00:32:17,290 --> 00:32:21,050
send us some samples of almost
the whole Flight of 1792

589
00:32:21,050 --> 00:32:24,490
products and we've been trying
to work them in and it just

590
00:32:24,490 --> 00:32:27,410
hasn't happened for, I don't
know, like three or Four Seasons

591
00:32:27,410 --> 00:32:29,610
now.
So like, we're finally getting

592
00:32:29,610 --> 00:32:32,050
around to it.
But over the next five weeks,

593
00:32:32,050 --> 00:32:35,370
we're going to be trying five
different kinds of 1792,

594
00:32:35,570 --> 00:32:38,250
starting today with their
flagship product, the small

595
00:32:38,250 --> 00:32:39,460
Batch.
Yeah, there's.

596
00:32:39,460 --> 00:32:43,620
So there's small batch comes at
93.7 proof, which is actually a

597
00:32:43,620 --> 00:32:45,140
proof that I'm very excited
about.

598
00:32:45,260 --> 00:32:51,020
I like that 90 to 95 range.
It's such a weirdly specific

599
00:32:51,020 --> 00:32:52,620
number.
I don't know if it has any

600
00:32:52,620 --> 00:32:56,980
significance, but like you'd
never see decimals unless it's

601
00:32:56,980 --> 00:33:00,700
like a single barrel.
It's just so weird to see 93.7.

602
00:33:01,350 --> 00:33:02,990
I was.
I feel like once you get in the

603
00:33:02,990 --> 00:33:06,270
100 and 10s and up is when you
start to see decimals.

604
00:33:06,830 --> 00:33:11,950
But sure, man 93.7, let's do it.
So 1792 says that they have a

605
00:33:11,950 --> 00:33:14,870
high rye mash bill, which is
crazy because I, you know, I

606
00:33:14,870 --> 00:33:16,430
don't want to jump ahead into
the nose.

607
00:33:16,430 --> 00:33:20,550
I don't pick up a ton of rye on
this, but it is a fan favorite.

608
00:33:20,590 --> 00:33:22,630
And like I said, when we get to
the foolproof, I think I'm just

609
00:33:22,630 --> 00:33:25,750
going to be gushing and gushing.
But when it comes to readily

610
00:33:25,750 --> 00:33:30,960
available thirtyish dollar
bottles of whiskey, this is one

611
00:33:30,960 --> 00:33:34,160
that is like it's in the upper
tier of those it could be

612
00:33:34,160 --> 00:33:36,240
gifted.
It's a beautiful bottle to look

613
00:33:36,240 --> 00:33:38,600
at.
And so it's high time, Brad,

614
00:33:38,600 --> 00:33:42,280
that we try some 1792.
So what do you say we dive into

615
00:33:42,320 --> 00:33:44,760
the nose?
Yeah, so the nose is a

616
00:33:45,120 --> 00:33:49,320
relatively simple nose.
I got some peanuts, some

617
00:33:49,320 --> 00:33:52,160
caramel, some vanilla, and a
little bit of leather.

618
00:33:52,920 --> 00:33:55,960
It was intriguing, but nothing
really stood out to me.

619
00:33:55,960 --> 00:33:57,360
There wasn't a lot of depth to
it.

620
00:33:57,400 --> 00:34:00,360
I'll give it a 7 out of 10.
Yeah, I'm going to be a little

621
00:34:00,360 --> 00:34:02,520
higher than that.
It's a beautifully sweet nose.

622
00:34:02,520 --> 00:34:04,920
There's a lot of caramel.
I almost get like some pink

623
00:34:04,920 --> 00:34:08,199
bubble gum on it as well.
I get a little bit of the rye

624
00:34:08,199 --> 00:34:11,280
because it comes through with
like a little bit of a soured

625
00:34:11,280 --> 00:34:12,679
note.
And I don't mean like soured

626
00:34:12,679 --> 00:34:15,280
mash, but I mean like a dill
kind of a thing.

627
00:34:15,520 --> 00:34:17,679
There's a little bit of that
underlying this.

628
00:34:18,280 --> 00:34:20,520
Again, it doesn't knows like a
high rye.

629
00:34:20,520 --> 00:34:22,320
It knows as more like a weeded
bourbon.

630
00:34:22,320 --> 00:34:23,960
And so that's when I looked at
the mash bill.

631
00:34:23,960 --> 00:34:25,320
I was kind of surprised to see
that.

632
00:34:25,679 --> 00:34:28,929
I still think it works really
well, especially you know Brad.

633
00:34:28,929 --> 00:34:31,530
In my mind I'm going to be
comparing this to like Elijah

634
00:34:31,530 --> 00:34:36,610
Craig or you know what's another
$30 bottle of whiskey, whatever

635
00:34:36,610 --> 00:34:41,130
you might, I don't know, Jim
Beam double oaked or something.

636
00:34:41,130 --> 00:34:46,210
Like it's it's a mid shelf
product and it's the entry level

637
00:34:46,210 --> 00:34:48,850
version of this brand.
I think it smells really, really

638
00:34:48,850 --> 00:34:52,210
good for that kind of thing.
I would definitely choose this

639
00:34:52,210 --> 00:34:54,650
over something like a Jack
Daniels for instance.

640
00:34:54,650 --> 00:34:56,969
I'm going to give it an 8 out of
10 on the nose.

641
00:34:57,450 --> 00:35:01,550
See.
I yeah, having drank the entire

642
00:35:01,550 --> 00:35:03,870
thing.
I I think 8 out of 10 is really

643
00:35:03,870 --> 00:35:08,550
high for this Bob.
The pallet was not great.

644
00:35:09,230 --> 00:35:11,510
There's some caramel.
The vanilla kind of comes

645
00:35:11,510 --> 00:35:13,830
through.
Some of those rice spices start

646
00:35:13,830 --> 00:35:17,150
to happen.
For me though it was really

647
00:35:17,150 --> 00:35:19,070
harsh.
Like I like.

648
00:35:19,070 --> 00:35:21,670
I would have guessed that this
was a much higher proof.

649
00:35:21,950 --> 00:35:24,390
The ethanol kind of overpowers
the flavor.

650
00:35:24,750 --> 00:35:27,640
I give it a 5 1/2 out of 10
dude.

651
00:35:27,680 --> 00:35:30,680
I'm wondering if the samples
that we have had sitting on our

652
00:35:30,680 --> 00:35:33,200
shelf for too long have gotten
oxidized or something Because

653
00:35:33,200 --> 00:35:36,400
I'm drinking out of the bottle
from my shelf and I'm not

654
00:35:36,400 --> 00:35:39,520
getting any of that.
Like next time I see you, I'm

655
00:35:39,520 --> 00:35:41,840
going to bring the bottle and
just give it to you and be like,

656
00:35:41,920 --> 00:35:43,480
is this the same thing you
tried?

657
00:35:44,040 --> 00:35:47,320
Because this is really, really
beautiful.

658
00:35:47,320 --> 00:35:49,280
Man.
I get black cherry on this on

659
00:35:49,280 --> 00:35:51,600
the palette.
It does get like very okie and

660
00:35:51,600 --> 00:35:55,320
tobacco and leather forward, but
it doesn't tip into bitterness.

661
00:35:55,320 --> 00:35:59,810
It doesn't tip into sourness and
it never gets harsh for me and

662
00:35:59,810 --> 00:36:02,930
you know Brad, like we've we've
tried whiskeys that are not high

663
00:36:02,930 --> 00:36:06,210
proof that still drank really
harsh like that, the original

664
00:36:06,210 --> 00:36:09,450
Blantons that we tried.
This doesn't do that for me.

665
00:36:10,330 --> 00:36:12,930
So you like, it's not that I
don't trust your palate, but I'm

666
00:36:12,930 --> 00:36:15,770
also wondering like what's going
on with that sample that you

667
00:36:15,770 --> 00:36:18,650
have, because I'm going to give
this an 8 1/2 out of 10.

668
00:36:19,620 --> 00:36:22,660
Yeah.
No, this is 5 1/2 on the pallet.

669
00:36:22,940 --> 00:36:26,060
It's a six on the finish.
It's kind of generically sweet

670
00:36:26,060 --> 00:36:30,020
with a little bit of oakiness.
It's, it's fine.

671
00:36:30,020 --> 00:36:33,060
On the finish, I I don't know
what were your notes.

672
00:36:33,660 --> 00:36:36,420
Sometimes I I wonder if you know
how dismissive you are.

673
00:36:37,300 --> 00:36:41,820
Like I oh I just spent 30
seconds saying, hey, I totally

674
00:36:41,820 --> 00:36:43,940
trust you.
I think maybe your samples off

675
00:36:43,940 --> 00:36:47,940
and then use your first words
were yeah, no, it's a 5 1/2.

676
00:36:48,290 --> 00:36:55,730
Like like you just completely
dismissed what I said, oh man,

677
00:36:56,090 --> 00:36:57,850
the finish is really good on
this.

678
00:36:58,090 --> 00:37:01,290
Once again I think that it is.
It's like candy.

679
00:37:01,290 --> 00:37:03,130
Sweet.
I get that bubble gum coming

680
00:37:03,130 --> 00:37:06,690
back a little bit, a little bit
of leather, some toasted oak on

681
00:37:06,690 --> 00:37:08,930
the finish.
I'm going to give it a 7 1/2 on

682
00:37:08,930 --> 00:37:11,370
the finish.
And man, I wish we were in the

683
00:37:11,370 --> 00:37:14,050
same room trying this out of the
same bottle because I just.

684
00:37:14,090 --> 00:37:16,730
I really need to know.
Yeah.

685
00:37:17,550 --> 00:37:19,550
You got to get it to me, man.
Yeah, I'm willing to try it.

686
00:37:19,950 --> 00:37:21,190
Yeah.
I I mean, I feel like this is

687
00:37:21,190 --> 00:37:24,270
going sideways.
I'll just tell you 5 out of 10

688
00:37:24,270 --> 00:37:29,910
on balance, 5 out of 10 on value
for me, like this is $33 in the

689
00:37:29,910 --> 00:37:32,870
state of Ohio.
I think that's overpriced it.

690
00:37:32,870 --> 00:37:36,910
It used to be apparently around
like the 26 to $28.00 range.

691
00:37:37,270 --> 00:37:40,430
If that was the case, I think
I'd come up to like a 6 1/2 or

692
00:37:40,430 --> 00:37:45,310
A7 but over $30 what I am
drinking.

693
00:37:46,480 --> 00:37:48,360
Is a.
It's a simple palette.

694
00:37:48,360 --> 00:37:51,480
It has harsh edges.
I just don't think it's worth

695
00:37:51,480 --> 00:37:56,560
that 30 plus dollar price range.
This is a rough day for you on

696
00:37:56,560 --> 00:38:00,760
film and whiskey.
A movie you don't like, A

697
00:38:00,760 --> 00:38:03,720
whiskey you don't like.
I'm going to give it a 7 1/2 on

698
00:38:03,720 --> 00:38:05,880
balance.
I'm going to give it an 8 on

699
00:38:05,880 --> 00:38:10,480
value because what I'm drinking
is pretty good and that's

700
00:38:10,480 --> 00:38:15,600
bringing me out to a 39.5.
We're going to be in vastly

701
00:38:15,600 --> 00:38:17,200
different places here, I
suspect.

702
00:38:17,840 --> 00:38:20,800
Yeah, Bob, I'm sitting at a 28.5
out of 50.

703
00:38:20,800 --> 00:38:28,840
Oh my gosh, man, I can't hold on
39.5 and you said 28.5.

704
00:38:29,320 --> 00:38:32,000
Yeah, I was going to say 11
points away from each other

705
00:38:32,000 --> 00:38:34,760
might be the one of the biggest
gaps we've ever had.

706
00:38:34,760 --> 00:38:35,440
Ever.
Ever.

707
00:38:35,920 --> 00:38:38,010
Yeah, dude, I can't wait to see
you again.

708
00:38:38,050 --> 00:38:41,210
I'm like, I'm gonna.
First thing I do is just like,

709
00:38:41,210 --> 00:38:44,170
pour this down your throat.
Straight down the goal and tell

710
00:38:44,210 --> 00:38:47,250
me what you think.
Now we're coming out to an

711
00:38:47,250 --> 00:38:51,570
average of just a 34 out of 50
or a 68 out of 100.

712
00:38:51,930 --> 00:38:54,090
This is an interesting one
because I'm not going to ask you

713
00:38:54,090 --> 00:38:56,730
like do you recommend it's It's
clear you don't.

714
00:38:57,170 --> 00:39:02,090
It's clear that I do.
I think for $30 it's almost

715
00:39:02,090 --> 00:39:05,850
worth buying the bottle just to
determine which of us is wrong,

716
00:39:05,890 --> 00:39:08,170
because we are so at odds on
this one.

717
00:39:08,690 --> 00:39:12,650
Yeah, I was going to say like
30-3 dollars is not the cheapest

718
00:39:12,650 --> 00:39:15,370
of whiskeys that's in the
getting into the mid tier

719
00:39:15,370 --> 00:39:19,170
whiskey range.
But it's 30 bucks like you know

720
00:39:19,170 --> 00:39:20,930
after tax you're spending 35
bucks.

721
00:39:20,930 --> 00:39:23,210
It's not that bad.
If you want to try it out for

722
00:39:23,210 --> 00:39:26,010
yourself, go for it.
I I mean, I guess I'd say this,

723
00:39:26,010 --> 00:39:28,970
if you want to determine who is
right, Bob or Brad.

724
00:39:29,510 --> 00:39:32,430
Go to the bar, get a pour of it.
It's readily available.

725
00:39:32,430 --> 00:39:35,710
You'll probably spend 4 or $5.
I was going to say this is like

726
00:39:35,710 --> 00:39:39,230
a 5-6 dollar pour Max.
Yeah, totally worth it.

727
00:39:39,550 --> 00:39:42,110
Try it out.
Get on Instagram, tell me how

728
00:39:42,110 --> 00:39:46,070
right I am, and yeah, we can
move on to talking about

729
00:39:46,510 --> 00:39:49,230
Notorious.
What an economical episode this

730
00:39:49,230 --> 00:39:50,470
is.
Brad, we're going to get out of

731
00:39:50,470 --> 00:39:52,470
here in in well under an hour
today.

732
00:39:52,830 --> 00:39:55,550
Yeah, flying through, right.
Let's get back to talking about

733
00:39:55,550 --> 00:39:57,110
Notorious.
What do you say?

734
00:39:57,710 --> 00:40:03,210
Let's get to it.
All right, everybody.

735
00:40:03,210 --> 00:40:07,730
That was 1792.
Small batch, a whiskey that was

736
00:40:07,730 --> 00:40:10,450
a quite a small performer, if I
do say so myself.

737
00:40:11,570 --> 00:40:13,850
I've never been called a small
performer, Brad, so I wouldn't

738
00:40:13,850 --> 00:40:16,530
know.
Sex jokes.

739
00:40:17,010 --> 00:40:21,770
Boom.
Now.

740
00:40:21,770 --> 00:40:24,530
Now your challenge is segue us
into the next segment.

741
00:40:25,370 --> 00:40:28,440
You know what else is never been
known as small Canada.

742
00:40:28,640 --> 00:40:31,800
Oh, there it is.
Favorite segments. 2 facts in a

743
00:40:31,800 --> 00:40:35,360
falsehood.
Brad is gonna try to stumpy ball

744
00:40:37,880 --> 00:40:43,400
2 alright and what is wrong?
2 facts in a falsehood. 2 Facts

745
00:40:43,400 --> 00:40:46,480
in a Falsehood is the part of
the podcast where Brad presents

746
00:40:46,480 --> 00:40:50,560
three items to me as fact about
the making of this film, one of

747
00:40:50,560 --> 00:40:54,160
which is a complete lie.
I'm always interested in two

748
00:40:54,160 --> 00:40:56,160
Facts in a Falsehood.
Well, period.

749
00:40:56,160 --> 00:40:58,850
Just I I always AM.
I'm especially interested

750
00:40:58,850 --> 00:41:02,450
because I am still one game away
from securing a 500 season.

751
00:41:03,170 --> 00:41:07,050
But I'm even more interested
because Brad clearly does not

752
00:41:07,050 --> 00:41:11,290
like this movie and I'm
interested to see how that

753
00:41:11,570 --> 00:41:15,210
affects his fact slash fiction
writing.

754
00:41:15,890 --> 00:41:19,530
So Brad, with all that said, hit
me with your two facts in a

755
00:41:19,530 --> 00:41:23,820
falsehood.
Fact number one, director Sir

756
00:41:23,820 --> 00:41:27,300
Alfred Hitchcock and
screenwriter Ben Hecht consulted

757
00:41:27,380 --> 00:41:31,460
a Nobel Prize winning physicist
on how to make an atomic bomb.

758
00:41:31,980 --> 00:41:35,500
He refused to answer, but
confirmed that the principal

759
00:41:35,500 --> 00:41:38,700
ingredients, uranium, could fit
into a wine bottle.

760
00:41:40,460 --> 00:41:42,500
Fact #2.
Hitchcock had the set for the

761
00:41:42,500 --> 00:41:46,060
Sebastian home rebuilt three
times after finding himself

762
00:41:46,060 --> 00:41:48,380
dissatisfied with the look of
the entrance hall, first

763
00:41:48,380 --> 00:41:50,810
thinking it too small, then too
large.

764
00:41:52,210 --> 00:41:55,490
Fact #3, Claude Rains was made
to stand on a box for several of

765
00:41:55,490 --> 00:41:58,530
his scenes with Ingrid Bergman.
This gave the strange effect

766
00:41:58,530 --> 00:42:02,290
that Rains and Cary Grant were
slightly taller than Bergman,

767
00:42:02,290 --> 00:42:05,250
while Grant was actually about 7
inches taller than Rain.

768
00:42:07,370 --> 00:42:10,290
Interesting.
Number one is sticking out to me

769
00:42:10,330 --> 00:42:15,130
and and here's why, because I
know that Hitchcock has been

770
00:42:15,130 --> 00:42:18,810
quoted as saying, like we did
seek out a physicist.

771
00:42:19,490 --> 00:42:22,090
When we were writing the script,
because the FBI followed me

772
00:42:22,090 --> 00:42:24,890
around for a year afterwards
because no one knew about

773
00:42:24,890 --> 00:42:27,810
uranium.
Now after the bomb goes off and

774
00:42:27,810 --> 00:42:30,690
the Trinity tests and all of
their information becomes

775
00:42:30,690 --> 00:42:33,290
public, people understand that
it's uranium.

776
00:42:33,290 --> 00:42:35,890
But like when they were
developing this movie, David O

777
00:42:35,890 --> 00:42:39,050
Selznick was originally attached
as producer and he thought the

778
00:42:39,050 --> 00:42:40,930
uranium thing was confusing as
hell.

779
00:42:41,050 --> 00:42:43,890
He had no idea what was going on
because again, the world didn't

780
00:42:43,890 --> 00:42:45,490
know about the bomb they were
building.

781
00:42:46,210 --> 00:42:47,930
Isn't that?
Isn't that crazy to think about?

782
00:42:47,930 --> 00:42:51,640
Yeah, that like at the time this
movie came out, everybody's

783
00:42:51,640 --> 00:42:55,720
like, I I don't get what these
scientists are working on and

784
00:42:55,800 --> 00:43:01,000
anybody like, I don't know, post
1950 is immediately like nuclear

785
00:43:01,000 --> 00:43:02,200
warfare.
Everybody.

786
00:43:02,920 --> 00:43:05,840
The so The thing is though,
having seen Oppenheimer a number

787
00:43:05,840 --> 00:43:09,960
of Times Now, the vessel that
they use to show how much

788
00:43:09,960 --> 00:43:12,920
uranium they need is clearly
bigger than a wine bottle.

789
00:43:13,400 --> 00:43:18,080
So I'm also like, is Brad going
to be so nitpicky?

790
00:43:18,440 --> 00:43:22,080
That he would add that little
fictional thing to the end of

791
00:43:22,080 --> 00:43:24,440
what is otherwise a factual
statement.

792
00:43:24,920 --> 00:43:27,040
Am I?
Am I feeling petty after

793
00:43:27,040 --> 00:43:30,680
watching a movie I didn't like
and drinking a whiskey that I

794
00:43:31,040 --> 00:43:35,520
vastly disliked?
So the second one again is the

795
00:43:35,520 --> 00:43:38,440
innocuous sounding one of the
three which you got me with last

796
00:43:38,440 --> 00:43:41,960
week and the third one I don't
remember.

797
00:43:43,960 --> 00:43:46,480
Would you like me to read it?
Just to summarize, what was the

798
00:43:46,600 --> 00:43:49,090
What was the keywords Claude
Raid stood on?

799
00:43:49,090 --> 00:43:49,850
Oh.
Yeah, stood in the box.

800
00:43:49,890 --> 00:43:53,370
He seemed like a short guy.
We we do stand a short king here

801
00:43:53,370 --> 00:43:57,170
on film and whiskey and he was
shortening Casablanca.

802
00:43:57,170 --> 00:44:00,530
So I'm going to say 3 is true.
I'm going to say two is true

803
00:44:00,530 --> 00:44:02,930
too.
And and I'm going to suspect

804
00:44:02,930 --> 00:44:04,890
that you tried to get me with
#1.

805
00:44:04,890 --> 00:44:08,810
And I'll say one is the
falsehood, Bob.

806
00:44:09,410 --> 00:44:13,410
Today was a beautiful
opportunity to reach 500 for you

807
00:44:13,410 --> 00:44:17,510
and in this very moment you have
not achieved that.

808
00:44:17,510 --> 00:44:24,750
What?
Was the falsehood man #2?

809
00:44:27,110 --> 00:44:29,550
You got me twice in a row with
the one that I was least

810
00:44:29,750 --> 00:44:33,310
concerned about.
Yeah.

811
00:44:33,310 --> 00:44:36,430
As soon as you started talking
about #1 for like 3 minutes, I

812
00:44:36,430 --> 00:44:39,310
was like, oh, I got him.
I got him.

813
00:44:41,270 --> 00:44:44,350
Man, that's the sucky thing is
like, I knew that part of that

814
00:44:44,350 --> 00:44:47,430
was true.
And I also know that you're

815
00:44:47,430 --> 00:44:49,190
doing your best to trip me up
here.

816
00:44:49,190 --> 00:44:52,070
So I was like, oh, maybe he did.
I'm psyching myself out now, is

817
00:44:52,070 --> 00:44:53,310
what I'm saying.
Here's a question.

818
00:44:53,750 --> 00:44:58,310
If I had said Sir Alfred
Hitchcock and screen owner Ben

819
00:44:58,310 --> 00:45:03,590
Hecht consulted Nobel Prize
winner Doctor Robert Milliken on

820
00:45:03,590 --> 00:45:05,750
how to make an atomic bomb, blah
blah blah blah blah.

821
00:45:05,750 --> 00:45:07,430
Would that have changed your
answer?

822
00:45:08,310 --> 00:45:10,710
Probably.
I think that was the guy's name,

823
00:45:10,710 --> 00:45:12,070
right?
It was.

824
00:45:12,110 --> 00:45:14,310
Yeah, I don't know.
Who knows, man?

825
00:45:15,130 --> 00:45:17,370
What's done is done, Brad.
What's done is done.

826
00:45:17,610 --> 00:45:20,770
I'm a winner.
And I I think that 15 is 13.

827
00:45:20,770 --> 00:45:25,130
I was going to say that puts me
at 13 and 15, one step closer to

828
00:45:25,130 --> 00:45:28,770
making you 15 and 17, Bob.
All I have to do is win one

829
00:45:28,770 --> 00:45:31,650
more.
I have to not blow A31 lead in

830
00:45:31,650 --> 00:45:35,130
these last four episodes.
Are Are you the Warriors?

831
00:45:36,490 --> 00:45:37,570
Gosh.
All right, man.

832
00:45:37,570 --> 00:45:40,810
Let's talk about Notorious.
And important disclaimer, we are

833
00:45:40,810 --> 00:45:43,530
talking about the 1946 film
Notorious.

834
00:45:43,880 --> 00:45:49,800
And not in fact the 2009 biopic
about the Notorious BIGI know

835
00:45:49,800 --> 00:45:52,360
that if you've made it this far,
you probably know that, but it's

836
00:45:52,360 --> 00:45:53,960
just, you know, it's important
that we mentioned.

837
00:45:53,960 --> 00:45:57,040
I mean it it sounds like that's
probably the same movie at the

838
00:45:57,120 --> 00:46:01,290
end of the day.
I was really impressed with the

839
00:46:01,290 --> 00:46:04,570
camera work in this movie, Brad.
The camera is constantly moving.

840
00:46:04,730 --> 00:46:08,170
There are a number of wonders in
this movie that are like really

841
00:46:08,170 --> 00:46:12,690
beautiful, like it'll be.
It starts on an image of a

842
00:46:12,690 --> 00:46:15,770
coffee cup on a table and then
it tilts up to Ingrid Bergman

843
00:46:16,050 --> 00:46:19,210
and the camera moves on a Dolly
over to where Claude Rains is

844
00:46:19,210 --> 00:46:20,730
sitting.
And then it swivels around and

845
00:46:20,730 --> 00:46:23,530
shows the mother, and it's all
done in one consecutive shot.

846
00:46:24,070 --> 00:46:26,150
And there is one shot in this
movie that I have come to

847
00:46:26,150 --> 00:46:29,990
understand after I went oh crap,
that's a cool shot and then saw

848
00:46:29,990 --> 00:46:33,670
it all over the Internet.
That is like V Shot and I'm

849
00:46:33,670 --> 00:46:37,790
wondering if you also picked up
on it as V Shot from this movie.

850
00:46:38,590 --> 00:46:40,430
It's Cary Grant standing in the
door.

851
00:46:40,550 --> 00:46:42,070
It's not.
I mean that's a cool.

852
00:46:42,750 --> 00:46:48,030
But the shot that like go ahead,
I was going to say for me, like

853
00:46:48,470 --> 00:46:51,950
the one shot from the film that
I was blown away by was when

854
00:46:51,950 --> 00:46:56,730
she's kind of laying half upside
down sideways as she's drunk and

855
00:46:56,730 --> 00:47:01,330
he kind of has this like kind of
has like a Dutch angle cock

856
00:47:01,330 --> 00:47:04,930
eyed, you know, he's lit in a
really interesting way.

857
00:47:04,930 --> 00:47:07,570
I I loved that shot near the
start of the film.

858
00:47:07,730 --> 00:47:09,890
That was a cool shot too, and I
have a list of like.

859
00:47:09,890 --> 00:47:13,730
These were cool shots, but the
one the one that like, has

860
00:47:13,770 --> 00:47:17,850
essays written about it is she
has just figured out that she

861
00:47:17,850 --> 00:47:19,330
needs to steal this key from
him.

862
00:47:19,570 --> 00:47:23,610
She steals the key.
And then it fades to them having

863
00:47:23,610 --> 00:47:25,850
gotten ready for this party, and
they're having this dinner

864
00:47:25,850 --> 00:47:28,130
party.
And the shot starts like in the

865
00:47:28,130 --> 00:47:32,010
very upper corner of, like, the
ceiling of their grand hall.

866
00:47:32,530 --> 00:47:36,810
And it's a tracking shot that
was done in the 40s when cameras

867
00:47:36,810 --> 00:47:40,090
weighed millions of pounds.
And I don't know how they did

868
00:47:40,090 --> 00:47:41,970
it, but it goes from the
balcony.

869
00:47:42,430 --> 00:47:46,470
All the way down to the first
floor and it becomes a close up

870
00:47:46,550 --> 00:47:50,870
of her hand holding this key
where the camera's like 2 inches

871
00:47:50,870 --> 00:47:53,750
away from her hand.
And for the love of me, I still

872
00:47:53,750 --> 00:47:55,790
don't understand how they pulled
that shot off.

873
00:47:55,790 --> 00:48:00,030
It is like a crazy crazy shot
when you consider the time

874
00:48:00,430 --> 00:48:03,040
period.
Then they just like zoom in,

875
00:48:03,040 --> 00:48:05,160
Bob.
I don't believe they did.

876
00:48:05,360 --> 00:48:09,920
I don't think it was a zoom.
You just you just gotta build

877
00:48:09,920 --> 00:48:11,720
my.
No, you just like you just pinch

878
00:48:11,720 --> 00:48:14,640
your fingers on the screen on
the iPhone and then it just does

879
00:48:14,640 --> 00:48:17,000
what you want it to do.
Yeah, that's it, man.

880
00:48:17,040 --> 00:48:18,080
I don't.
I don't know what you're

881
00:48:18,280 --> 00:48:20,840
freaking out about.
You know, I often find myself

882
00:48:20,840 --> 00:48:23,720
wondering, why didn't Hitchcock
just use more drones?

883
00:48:24,160 --> 00:48:28,060
Yes, yeah, I think some drone
shots really could have added to

884
00:48:28,060 --> 00:48:34,460
this movie pop can I can I just
say it as a side like drone

885
00:48:34,460 --> 00:48:40,980
shots suck in movies.
Like 92% of drone shots feel so

886
00:48:40,980 --> 00:48:43,940
out of place compared to the
rest of the traditional

887
00:48:43,940 --> 00:48:49,060
cinematography that they just
ruin movie scenes.

888
00:48:49,060 --> 00:48:53,460
Yeah, and it's not even just
like overhead shots of cities.

889
00:48:53,460 --> 00:48:56,220
It's like.
It's very specifically drone

890
00:48:56,220 --> 00:48:57,580
shots.
You can tell when something's

891
00:48:57,580 --> 00:49:00,460
filmed by a drone because they
tried, they've tried to replace

892
00:49:00,460 --> 00:49:03,740
every shot that used to be
called a helicopter shot with

893
00:49:03,740 --> 00:49:05,740
drone shots.
And like when you watch the

894
00:49:05,740 --> 00:49:08,980
original West Side Story and it
starts with that montage of,

895
00:49:08,980 --> 00:49:11,420
like, overhead shots, it's a
helicopter shot.

896
00:49:11,460 --> 00:49:13,980
And sometimes you can tell like
the camera jiggles a little

897
00:49:14,260 --> 00:49:17,900
because of like the the
propeller helicopter, I mean the

898
00:49:17,900 --> 00:49:19,820
opening of the Shining.
Yeah, 100%.

899
00:49:20,220 --> 00:49:22,660
You know what though?
It looks better than a drone

900
00:49:22,660 --> 00:49:24,380
shot.
I'm 100% with you, man.

901
00:49:24,920 --> 00:49:27,640
Yeah, Yep.
Anyway, get those helicopters up

902
00:49:27,640 --> 00:49:29,640
there, baby.
Let's talk about the visual look

903
00:49:29,640 --> 00:49:31,960
of this movie, Brad.
I think if there is one thing

904
00:49:32,280 --> 00:49:37,760
that is just staggering about
this movie, it's how well shot

905
00:49:37,760 --> 00:49:40,520
it is.
I don't know if I'm with you,

906
00:49:40,560 --> 00:49:44,100
Bob.
Like, like, not in the sense

907
00:49:44,100 --> 00:49:46,340
that it is poorly shot.
I thought that there were

908
00:49:46,340 --> 00:49:49,140
multiple, you know, like the
tracking shot you just talked

909
00:49:49,140 --> 00:49:53,860
about, the Dutch angle of of
drunk Ingrid Bergman looking at

910
00:49:53,860 --> 00:49:56,540
Cary Grant.
You know that, like, there are

911
00:49:56,540 --> 00:50:01,390
scenes in the movie that I
enjoy, but overall, it felt like

912
00:50:01,390 --> 00:50:03,750
pretty standard fare for the 40s
to me.

913
00:50:04,270 --> 00:50:06,830
Like the scene where she's
driving drunk and there's like a

914
00:50:06,830 --> 00:50:10,350
fake background, you know what I
mean?

915
00:50:10,350 --> 00:50:12,190
Like that.
That reminded me of to catch a

916
00:50:12,190 --> 00:50:15,150
thief.
There's the moment where, well,

917
00:50:15,150 --> 00:50:18,070
not even just a moment.
There's many times where they're

918
00:50:18,070 --> 00:50:22,070
like sitting in a restaurant or
a cafe and everything behind

919
00:50:22,070 --> 00:50:26,590
them is like, you know, quote,
UN quote, green screen, like

920
00:50:26,590 --> 00:50:28,790
there's enough of things like
that.

921
00:50:28,910 --> 00:50:31,670
But I was just kind of like,
yeah, this feels like it's of

922
00:50:31,670 --> 00:50:33,750
its time.
That's a fair point, and those

923
00:50:33,750 --> 00:50:36,270
are especially prevalent in the
first half of the movie.

924
00:50:36,590 --> 00:50:38,790
And I don't like it.
Almost makes me wonder, like, I

925
00:50:38,790 --> 00:50:41,070
wish I could see the shooting
schedule on this because it

926
00:50:41,070 --> 00:50:43,030
feels like some of this stuff
was rushed.

927
00:50:43,470 --> 00:50:45,910
But then when you get to the
back half of the movie.

928
00:50:46,260 --> 00:50:49,620
That camera is like, Hitchcock
makes such good use of closeups

929
00:50:49,620 --> 00:50:52,740
in this movie, and you don't get
a ton of really close closeups

930
00:50:53,020 --> 00:50:54,940
until the tension starts to
ratchet.

931
00:50:54,940 --> 00:50:57,340
And then it's like, yeah, when
Bergman starts to figure out

932
00:50:57,340 --> 00:50:59,460
what's going on.
There's closeups on her face.

933
00:50:59,460 --> 00:51:01,660
There's closeups on the mom.
There's closeups on Claude

934
00:51:01,660 --> 00:51:03,980
Rains.
The first time that she's trying

935
00:51:03,980 --> 00:51:06,660
to hide the key from him.
And she like, he's like kissing

936
00:51:06,660 --> 00:51:09,100
the palms of her hands.
And then she throws her arms

937
00:51:09,100 --> 00:51:11,140
around him.
It cuts to a closeup like

938
00:51:11,140 --> 00:51:13,540
that's.
It's such a good shot.

939
00:51:13,920 --> 00:51:17,000
And he makes this really
claustrophobic environment by

940
00:51:17,000 --> 00:51:20,520
continuing to move the camera
closer and closer to people as

941
00:51:20,520 --> 00:51:23,200
the movie winds down.
And so I think, like, the actual

942
00:51:23,200 --> 00:51:26,440
camera work is awesome.
But you're right.

943
00:51:26,440 --> 00:51:29,280
There's like these weird rear
projection moments throughout

944
00:51:29,280 --> 00:51:33,320
the movie that look not just
fake by our standards, but like,

945
00:51:33,400 --> 00:51:36,640
even in 1946, I feel like there
are people in the audience that

946
00:51:36,640 --> 00:51:40,000
were pointing at it and saying,
huh, did you not have the budget

947
00:51:40,000 --> 00:51:42,840
to just like, right.
Put a beach in the background?

948
00:51:43,630 --> 00:51:44,670
Right.
Exactly.

949
00:51:45,110 --> 00:51:48,390
And so, yeah, I'm, I'm with you.
I think for me, if I could speak

950
00:51:48,390 --> 00:51:52,390
more generally, just on the
movie as a whole, the last like

951
00:51:52,390 --> 00:51:56,270
20 minutes of this film worked
pretty well for me.

952
00:51:56,510 --> 00:52:00,670
Like, once Claude Raines
realizes she's a spy, he talks

953
00:52:00,670 --> 00:52:03,750
about his predicament with his
mom and they decide to poison

954
00:52:03,750 --> 00:52:06,630
her from there to the end of the
film.

955
00:52:06,630 --> 00:52:09,190
I'm, I'm in.
I'm, I'm locked in.

956
00:52:09,190 --> 00:52:12,530
I'm enjoying it.
I think that it it has a little

957
00:52:12,530 --> 00:52:18,770
bit of a anti climactic ending,
but overall I was, I was locked

958
00:52:18,770 --> 00:52:20,650
in, really enjoyed the last 20
minutes.

959
00:52:20,730 --> 00:52:24,570
And like you said, I think the
cinematography does a big part

960
00:52:24,570 --> 00:52:27,090
in that because it becomes more
dynamic.

961
00:52:27,450 --> 00:52:32,370
He's more active with the
tension that he creates through

962
00:52:32,370 --> 00:52:36,890
editing and through camera work.
I just wish he had done more of

963
00:52:36,890 --> 00:52:38,990
it throughout.
All right, Brad.

964
00:52:38,990 --> 00:52:41,070
Well, I think it's time for us
to get to our last segment of

965
00:52:41,070 --> 00:52:43,550
the day, which we call, let's
make it a double.

966
00:52:43,750 --> 00:52:46,950
We're near the end of the
episode, so thanks for listening

967
00:52:46,950 --> 00:52:49,950
to the film and whiskey show.
Let's ever know the film with

968
00:52:49,950 --> 00:52:51,350
this one, even if it's
struggling.

969
00:52:51,350 --> 00:52:53,830
It's a final segment of the day.
Now let's make it a double.

970
00:52:54,550 --> 00:52:57,070
Let's make it a double is the
part of the show where we pick a

971
00:52:57,070 --> 00:53:00,310
movie to pair up with this one
to make the perfect double

972
00:53:00,310 --> 00:53:02,670
feature?
Brad, I'm curious to know what

973
00:53:02,670 --> 00:53:05,310
you would consider a quote UN
quote perfect double feature

974
00:53:05,430 --> 00:53:06,870
since you didn't like this
movie.

975
00:53:07,250 --> 00:53:10,050
Or are you going to go somewhere
that's like, this will redeem

976
00:53:10,050 --> 00:53:12,490
the pair?
Or are you going to thematically

977
00:53:12,490 --> 00:53:15,130
pair it up with another movie
that you don't like and just

978
00:53:15,130 --> 00:53:17,050
make a miserable night for
yourself?

979
00:53:17,570 --> 00:53:19,650
And while you think about how to
do that, Brad, I'm going to go

980
00:53:19,650 --> 00:53:23,050
ahead and jump in with mine.
I think an easy one would be to

981
00:53:23,050 --> 00:53:26,130
Catch a thief, because it's a
movie that we're not totally in

982
00:53:26,130 --> 00:53:27,690
love with.
It's Cary Grant.

983
00:53:27,690 --> 00:53:30,610
It's Alfred Hitchcock.
It's a romance and some, you

984
00:53:30,610 --> 00:53:33,420
know, espionage as well.
I think I'm going to go with a

985
00:53:33,420 --> 00:53:38,300
movie that I really liked from
the mid 2000s called The

986
00:53:38,300 --> 00:53:40,940
American.
This is a George Clooney movie

987
00:53:41,140 --> 00:53:46,620
set in I think Italy and it's a
very slow moving spy espionage

988
00:53:46,620 --> 00:53:48,660
movie as well.
That really leans into the

989
00:53:48,980 --> 00:53:52,180
romance aspect to go along with
the spy stuff.

990
00:53:52,460 --> 00:53:55,220
I think it's a fun pairing.
I actually like that movie a lot

991
00:53:55,220 --> 00:53:58,500
better than I like this movie.
And you get the modern day Cary

992
00:53:58,500 --> 00:54:00,820
Grant with George Clooney.
So I'm going to pair it up with

993
00:54:00,820 --> 00:54:04,720
the American Bob.
I'm not going to lie, I am

994
00:54:04,720 --> 00:54:08,320
struggling to think of a good
pairing for this film and and

995
00:54:08,320 --> 00:54:10,880
not necessarily just because I
didn't care for this film.

996
00:54:11,120 --> 00:54:13,520
There's stuff that worked for me
in the film.

997
00:54:14,360 --> 00:54:17,960
I think that because I want more
people to see it, I think I'll

998
00:54:17,960 --> 00:54:22,120
pair it with Charade.
I think that Charade nails the

999
00:54:22,760 --> 00:54:25,920
thriller aspects way better.
I think it nails the comedy

1000
00:54:25,920 --> 00:54:28,280
aspects that never come across
in this film way better.

1001
00:54:28,890 --> 00:54:33,570
I think the Charade is just a a
dag on good movie, so you don't

1002
00:54:33,570 --> 00:54:35,130
have to watch Notorious, just go
watch Charade.

1003
00:54:37,330 --> 00:54:39,690
The covert anti double.
I love it.

1004
00:54:41,330 --> 00:54:44,650
Let's make it a single by just
eliminating this movie and

1005
00:54:44,650 --> 00:54:46,610
watching another one instead.
I love it, dude.

1006
00:54:46,930 --> 00:54:50,050
All right, so I picked the
American Brad Pitt charade.

1007
00:54:50,330 --> 00:54:52,050
Let's give this movie some final
scores.

1008
00:54:52,050 --> 00:54:54,770
And Brad, I know that it sounds
like I have been really crapping

1009
00:54:54,770 --> 00:54:56,890
on this movie.
I'm telling you, I think the

1010
00:54:56,890 --> 00:54:59,710
last half of this movie.
But you know, I would call the

1011
00:54:59,710 --> 00:55:02,670
last 40 minutes we're almost
perfect for me.

1012
00:55:02,670 --> 00:55:05,750
Like movie making wise, I think
that Hitchcock is really at the

1013
00:55:05,750 --> 00:55:08,950
top of his game once he decides
this is going to be a straight

1014
00:55:08,950 --> 00:55:11,030
thriller.
It's like a nine and a half for

1015
00:55:11,030 --> 00:55:14,150
me in the back half of the movie
and it's like a four in the

1016
00:55:14,150 --> 00:55:16,750
first half.
And so when I finished it, I was

1017
00:55:16,750 --> 00:55:20,430
like, man, I think that he
landed the plane so well that I

1018
00:55:20,430 --> 00:55:23,470
might give this movie an 8 out
of 10 overall.

1019
00:55:24,070 --> 00:55:25,990
And as I've been talking with
you about it, I'm like, all

1020
00:55:25,990 --> 00:55:28,310
right, it's probably not an 8,
but I do think that.

1021
00:55:28,750 --> 00:55:31,470
In the balance of things, I
enjoyed it a lot more than I

1022
00:55:31,470 --> 00:55:33,630
didn't.
So I'm going to give it a 7 1/2

1023
00:55:33,630 --> 00:55:37,830
out of 10.
Yeah, I I think that this is an

1024
00:55:37,830 --> 00:55:41,390
enjoyable film.
Like I I enjoyed Cary Grant.

1025
00:55:41,390 --> 00:55:43,630
I enjoyed Claude Rains.
I enjoyed Ingrid Bergman.

1026
00:55:43,630 --> 00:55:46,430
I I think they all gave pretty
solid performances.

1027
00:55:46,830 --> 00:55:48,990
I'm going to put the blame here
on Hitchcock.

1028
00:55:49,030 --> 00:55:54,590
I I just don't think that he
tells a compelling story and I

1029
00:55:54,590 --> 00:55:58,420
think that the script kind of
suffers a lot and it and it

1030
00:55:58,420 --> 00:56:00,780
causes the actors to suffer as
well.

1031
00:56:01,220 --> 00:56:04,700
So I'll give it a six out of 10,
Bob, not not something I'd be

1032
00:56:04,700 --> 00:56:07,740
coming back to anytime soon.
Not that you're going to pick

1033
00:56:07,740 --> 00:56:10,260
one of the other in real life,
but like this.

1034
00:56:10,340 --> 00:56:13,860
Or to catch a thief?
Oh, that's hard.

1035
00:56:13,860 --> 00:56:16,220
I think I'd go with this.
I think this one had more

1036
00:56:16,220 --> 00:56:19,900
intrigue and more inventive
camera work.

1037
00:56:20,380 --> 00:56:23,380
And I just like Ingrid Bergman
better than I like Grace Kelly.

1038
00:56:23,540 --> 00:56:26,550
So like this one.
For me is the clear winner

1039
00:56:26,550 --> 00:56:30,950
between the two.
I think that I find To Catch a

1040
00:56:30,950 --> 00:56:34,750
Thief to be a much more
beautiful film looking, but

1041
00:56:34,790 --> 00:56:38,030
overall I would say Notorious is
probably the better film.

1042
00:56:38,710 --> 00:56:41,350
Well, Brad, there you have it.
I'm coming out to a 7 1/2.

1043
00:56:41,350 --> 00:56:44,870
You're coming out to a six on a
movie that people seem to

1044
00:56:44,870 --> 00:56:48,550
generally really like.
So if you've seen Notorious, I'd

1045
00:56:48,550 --> 00:56:51,070
love to hear from you, because
it seems like it worked better

1046
00:56:51,070 --> 00:56:53,850
for you than it did for us.
Let us know what you think on

1047
00:56:53,850 --> 00:56:58,090
our social medias Facebook,
Twitter, Instagram, TikTok, or

1048
00:56:58,090 --> 00:57:01,810
YouTube at Filmwhiskey or jump
onto our discord.

1049
00:57:01,810 --> 00:57:05,250
We are on there every single day
having a conversation with you

1050
00:57:05,250 --> 00:57:09,210
guys about movies, whiskey, then
the world at large.

1051
00:57:09,570 --> 00:57:11,770
So join the conversation.
You can find a link to our

1052
00:57:11,770 --> 00:57:14,570
discord at the end of every
single one of our show notes.

1053
00:57:15,140 --> 00:57:17,420
Next week we're getting back on
track because we're finishing

1054
00:57:17,420 --> 00:57:20,940
this season with four absolute
bangers, and it starts with

1055
00:57:21,020 --> 00:57:25,300
perhaps Hitchcock's most
inventive movie, 1940 Eight's

1056
00:57:25,460 --> 00:57:27,860
Rope.
So join us for that next week.

1057
00:57:28,180 --> 00:57:30,820
Until then, I'm Bob Book.
I'm Brad G.

1058
00:57:31,020 --> 00:57:32,460
And we'll see you next time.