The head of the Green Manors mental asylum Dr. Murchison is retiring to be replaced by Dr. Edwardes, a famous psychiatrist. Edwardes arrives and is immediately attracted to the beautiful but cold Dr. Constance Petersen. However, it soon becomes apparent that Dr. Edwardes is in fact a paranoid amnesiac impostor. He goes on the run with Constance who tries to help his condition and solve the mystery of what happened to the real Dr. Edwardes. Written by
Col Needham <email@example.com>
In his first scene Michael Chekov's hair changes. See more »
Miss Carmichael, please. Dr. Petersen is ready for you.
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Opening credits: The fault.....is not in our stars, but in ourselves..... - Shakespeare Our story deals with psychoanalysis, the method by which modern science treats the emotional problems of the sane. The analyst seeks only to induce the patient to talk about his hidden problems, to open the locked doors of his mind. Once the complexes that have been disturbing the patient are uncovered and interpreted, the illness and confusion disappear.....and the devils of unreason are driven from the human soul. See more »
I watched Spellbound for the first time this morning, and overall I was very impressed. While Spellbound is far from his best film, it is in general very well done, and I would definitely watch it again for a number of reasons. Hitchcock's direction is noteworthy, maybe not as tight as it usually is, but still noteworthy. The film is shot with breathtaking black and white cinematography, particularly the scene in the countryside, in fact the only scene where it didn't quite work was in the skiing scene, it looked rushed and a tad too amateurish. On a more positive note, the music score by Miklos Rosza was absolutely outstanding; it is without a doubt one of the best film scores I have ever heard, and in my opinion one of the more memorable scores in any Hitchcock film. From the beautiful sweeping title theme, to some truly haunting parts in especially the scene with the sleepwalking. The final solution is exceedingly clever and unpredictable, and the dream sequence by Salvador Dali while short was essential to the plot and very effective. Speaking of the plot, mixed with psychological nuances and a young doctor's struggles to help her patient/ lover and prove his innocence, has its usual twists and turns and is pretty suspenseful. I will admit some of it is implausible, and the script may just lack the sophistication of the scripts of Hitchcocks like Vertigo or Rebecca, but on the whole it was cleverly crafted. The performances are in general very good; Gregory Peck is disappointingly one-note, but as the beautiful but cold Constance Peterson Sweedish beauty Ingrid Bergman is a revelation. The standout supporting turns come from Michael Chekov as Alex and Leo G. Carroll as Murchison, both add a lot to the film and do very well, and Hitchcock himself makes a cameo. All in all, has its flaws, and is definitely not Hitchcock's best, but I do recommend it. And I do think that along with StageFright it is one of the more undervalued Hitchcock movies. 8/10 Bethany Cox
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