"Despite a lapse of twenty (now forty!) years, it's still a remarkably modern picture," François Truffaut wrote of Notorious in his book Hitchcock. Certainly the complexity of this film, and the pristine beauty of its images, will emerge anew in this archival print. Hitchcock told Truffaut, "The story of Notorious is the old conflict between love and duty"; for Truffaut, "the sentimental angle is the simplest in the world: two men in love with the same woman." It is Ingrid Bergman's duty to absolve her father's Nazi collaboration by infiltrating Nazi Claude Rains' spy ring via his bed; it is Cary Grant's duty to push Bergman, whom he loves, into the marriage. "One can hardly blame him for seeming bitter throughout the story," comments Hitch with telling indifference towards his heroine. Anyway, it seems as clear that Grant's bitterness is a form of innate cynicism as it is that, of the two men, Rains loves her the more purely. And it is unclear whether Bergman is doing penance for the sins of her father or for her own "fast" reputation. Not such a simple story, after all.