One of those remarkable Hitchcock movies that manage to be both hugely romantic and nail-biting even if there is not a single shot fired. Claude Rains play a Nazi one feel sorry for as this charismatic slime ball is trapped between a dominating mother and a weak will. Cary Grant and Ingrid Bergman sparks with wonderful chemistry and I could just see them alone in scenes after scenes.
>>> Le film est reste célèbre pour les passionnés et forts longs baisers échangés entre Ingrid Bergman et Cary Grant et pour l'originalité de l'intrigue (l'incontournable "Mac Guffin" d'Hitchcock) qui tournait autour d'échantillons d'uranium dissimulés dans des bouteilles de vin. Une cuvée évidemment détonante... www.cinefiches.com
Two genres are interwoven here in such a compact blend that you couldn't reference any part of the movie without bringing both up: acts of spite, breaches of trust, proofs of faithfulness, insecurity crisis, induced jealousy, lovesickness,... every featured phase of the love triangle melodrama, and some added complexities stemming from the characters' ambiguity, corresponded exactly to mystery and espionage tropes.
I've noticed that many old movies will have two characters fall desperately, madly in love 5 minutes after they first meet. I *hate* that. This is one of the worst examples of that because the characters are cold and mean to each other the whole time and yet they still fall desperately, madly in love 5 minutes after they first meet. Ugh, so stupid. C-