for the 1940s), but when laziness kicks in, it is typically in the form of conventions, which plague certain areas throughout the film, until predictability kicks in itself, slowing down momentum that is shaken enough by underdevelopment and dragging. In a fair couple of ways, the film is rather gutsy (Oh, that infamous kissing sequence sure is racy. Perhaps a little thoughtful for its own good, the film's atmosphere, no matter how subtly effective at times, limps out once material begins to wear down, leaving the film to simply become dry and bland as it wanders down a path that is perhaps a little too familiar. At a touch over 100 minutes, this dramatic espionage thriller doesn't seem to be that overlong, and really, it might not be especially dragged out by excesses in material, but it feels as though it does, as material meanders, until slipping into repetition that is blanding enough without being delivered at a questionable clip. I've joked about the title time and again, and never particularly well, but in all seriousness, despite what the title suggests, this film's characters seem to stand to be more recognizable, being introduced with little immediate background development, while the body of the narrative offers only so much compensating depth to characterization, despite your spending so much time with the characters. My lame jokes aside, the film is adequately compelling, but only adequately, being held back by a number of factors, including expositions' being held back. Well, he must not have been as crazy about suspense as many claim, because a couple of his thrillers were of the espionage persuasion that didn't even involve James Bond, and the fun in that is limited enough when the mystery is apparently undercut by the spy's being "notorious". ran for more than three seconds.Oh yeah, that's really saucy, but you have to remember that this is the '40s, where people were so sensitive that not even Hitchcock could get as intense as he probably wanted to with his thrillers. Shoot, this film's title isn't that much more creative, because it's yet more of that bland, one-word nonsense, and it doesn't even make much sense, because, come on, just how good of a spy can you be if you're "notorious"? Well, the title is very fitting in retrospect, because this film is indeed notorious, for its mature content, which led Hitchcock to pull the gutsy move of including an onscreen kiss that.
It's funny how Hitchcock has two films whose titles are derivatives of "Sabotage", and how neither of them are, well, "notorious", at least for Hitchcock films that should be noted as reflections of Hitchcock's not being especially creative with the titling of his thrillers. Alfred Hitchcock finally returns to spy thrillers, you know, because of the overwhelming success of "Sabotage"-I mean, "Saboteur".
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