Spellbound

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Leaburn O Feb 3 Only Hitchcock could direct such a preposterous plot and still make it watchable. Has all his hallmarks and this time a deep Freudian fascination too. Peck is great and Bergman is too until the final laughable twenty minutes. Watched on DVD. See more A T. @AThompson Jan 26 Fascinating look into trauma and the subconscious mind. Loved the stellar cast with a such a great auteur director in Hitchcock! See more Kyle M Nov 3 Delving into the psychoanalytical angle prompted mere glances like basic textbook whilst unfolding a crime is moderately engaging alongside the showcased chemistry of Peck and Bergman’s professionally humane performances towards a cheesy end, mindfully summing an average picture beneath a Hitchcockian manifestation. (B) See more Farah R @Farah Apr 12 Slightly confusing and overacted, Spellbound isn't among Hitchcock's best, but it's watchable because it's well-made. See more Sarfaraz A 12/06/2024 Alfred Hitchcock directed the film, which was based on Francis Beeding's novel "The House of Dr. Edwardes" and scripted by Ben Hecht and Angus MacPhail. Starring my favorites Ingrid Bergman and Gregory Peck. The film received Academy Award nominations for Best Picture and Best Director, but Miklos Rozsa won the Oscar for Best Music-Scoring of a Dramatic or Comedy Picture. About a potentially murderous amnesiac imposter and the psychoanalyst who falls in love with him. Ingrid Bergman plays the role of Dr. Constance Peterson, who falls in love with Dr. Edwardes, played by Gregory Peck, the new administrator of the psychiatric institution where she works. She then discovers he is a fraud and may have actually murdered the real Dr. Edwardes and replaced him. Peterson attempts to help the nervous man, who is convinced of his own guilt, to uncover the secrets locked in his mind with the newly discovered science of dream analysis. Spellbound was one of the first Hollywood films to deal with psychoanalysis. This film features an extended surrealistic dream sequences designed by Spanish artist Salvador Dali. The surrealistic dream sequence designed by Dali was originally supposed to run for 20 minutes and included a scene in which Dr. Peterson was covered with ants. Only part of the scene was filmed, and only a portion of that footage ended up in the released version. The movie version that I watched did not have this scene. The film has a strong Gregory-Ingrid chemistry. In fact, the duo mesmerized me with their delivery of sardonic dialogues. See more Matthew B 09/17/2023 Spellbound was one of the first Hollywood movies in which psychoanalysis played a significant part. It includes such familiar tropes as dream analysis, a love/hate relationship between therapist and client, and a solution brought about by bringing unconscious thoughts into the consciousness of the patient. Nonetheless I can never quite make up my mind whether the movie is intended to promote the efficacy of psychoanalysis, as would appear to be the case at first glance, or whether the story is actually more sceptical about the ability of therapy to find all our answers. Given Alfred Hitchcock's detached and cynical humour, I am not sure if his portrayal of psychiatry is respectful, or if there is a secret dismissive amusement in his approach to the subject. Let us consider the argument for the defence. The film was certainly intended to be seen as a paean to the power of psychoanalysis. The famous producer David O Selznick wanted Hitchcock to make a movie based on his own therapy. Selznick enlisted one of the best scriptwriters of the age, Ben Hecht, who consulted psychoanalysts when writing the screenplay. Selznick brought in an actual therapist, May Romm, to act as adviser on the set. It is clear that the film expresses some degree of respect for the processes of psychiatry. The opening words on the screen before the action begins are in praise of the work of therapy. Many genuine concepts from psychiatry are thrown into the story. The solution to the murder mystery is not uncovered by a police detective, but by a psychoanalyst, Dr Constance Petersen (Ingrid Bergman). Constance gets to the truth, not by analysing evidence at the scene of the crime, but by analysing the dreams of her patient and lover, an amnesiac whose name is eventually revealed to be John Ballantyne (Gregory Peck). Given the prevalence of women in this field of study, this leads to an interesting reversal in the traditional gender roles for a movie. Ballantyne is the damsel in distress who needs to be saved by a stronger female character. Still how far did Hitchcock subscribe to these half-baked notions about the wonderful all-healing power of psychoanalysis? (I should say here that I have every respect for psychoanalysis and therapy. They can achieve wonderful things. However they are not the cure-all that this film sometimes implies.) Hitchcock was, I suspect, less on board with the idea than some of the people involved in making Spellbound. He was never a lover of Selznick anyway, and his 1940s films were made under duress, with unwelcome interventions by this controlling producer. Hitchcock dismissed Spellbound as, "just another manhunt wrapped in pseudo-psychoanalysis". As for the help of May Romm, the director clashed with the experienced practitioner on a number of occasions. He famously replied to one of her suggestions with the words, "My dear, it's only a movie". Hitchcock wanted to make an entertaining thriller first, and a Freudian examination of the mind second. However I cannot help feeling that Hitchcock goes further than simply reducing Selznick's beloved psychoanalytic content to the level of a mere thriller. While purporting to advocate the benefits of psychiatry, Spellbound also serves to ironically undermine it too. Now it is time to present the case for the prosecution. Perhaps the most notable aspect in the portrayal of the medical staff who work at Green Manors is that many of them seem as if they are in need of treatment themselves. The staff are spiteful and inquisitive, using their skills of deduction to gossip about one another. The retiring head of Green Manors, Dr Murchison (Leo G Carroll) has been forced to give up his position after an illness that seems to have been caused by stress. However the film's main focus is on Dr Constance Petersen and her relationship with the new director of the hospital, Dr Anthony Edwardes (Peck). Constance seems competent enough at her job, but her carelessness around patients caused my eyebrows to raise a few times. She opens letters with a sharp knife while talking to a man who thinks he is a murderer. Her supposedly superior manner antagonises another female patient. Of course projecting onto a doctor is normal in psychotherapy, but there is something cold and aloof about Constance. Much of the action in Spellbound is set around snowy landscapes that seem to reflect her frigidity, as well as the sense that something is buried beneath the surface waiting to thaw out. This applies to Constance, and also to the secrets that she will uncover. It is obvious that this self-enclosed woman is instantly attracted to her new Director, and it is not long before they are kissing. As they kiss, we cut to an image of doors opening by themselves on a corridor. The image is so obviously vaginal that I cannot help feeling that Hitchcock is enjoying a little joke here. At any rate, we can have no doubt that this repressed woman is fully opening up to him. The new Director has a peculiar aversion to the sight of tracks on white surfaces. He seems uncertain of the contents of a book that he has written. When asked to operate surgically on a patient (do psychoanalysts do that?), he is unable to carry out the work. However it is only when Constance compares the Director's handwriting to that in her signed copy of his book that she realises he is someone else. The mysterious pretender flees from Green Manors, and there is a suspicion that he is an amnesiac patient who may have murdered the real Dr Edwardes. Edwardes seems to have had a peculiar habit of engaging in unsupervised activities with his paranoid patients, including skiing. Once more the judgement and rationality of a therapist is called into doubt. I would not go so far as to call Spellbound a satire against psychoanalysis. In a way the film does extol the virtues of its subject matter. I would say rather that Hitchcock does not take the field of study quite as seriously as producer David O Selznick or writer Ben Hecht did. He is amused by the shortcomings of psychoanalysis and seeks to show them up, but mostly the issue is merely as a helpful device to move the plot along. Perhaps the film's most famous scene is the dream sequence that was designed by Salvador Dali. Some viewers find this disappointing, and this may be because Dali's original scene lasted for 20 minutes. As the film is already fairly long, this was cut to a more commercial two minutes in length. Sadly the edited footage is lost. What is left is impressive – a bizarre montage showing a man cutting eyes on curtains with scissors (recalling Un Chien Andalou), a faceless man holding a distorted wheel, and a giant shadow chasing our hero. All these elements have a symbolic meaning within the context of the story. I doubt they accurately reflect Freudian dream analysis, as they are a little too precise, but the scene certainly enhances the film. Hitchcock went on to make better films, but Spellbound would be a memorable film for any director, and, allowing for a number of talky scenes, it is a hugely entertaining thriller. I wrote a longer appreciation of Spellbound on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2019/11/28/spellbound-1945/ See more Read all reviews

Spellbound

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