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Spellbound (1945)

7.7
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Ratings: 7.7/10 from 27,858 users  
Reviews: 146 user | 94 critic

A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory.

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(screen play), (suggested by novel: "The House of Dr. Edwardes"), 4 more credits »
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Title: Spellbound (1945)

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Won 1 Oscar. Another 1 win & 6 nominations. See more awards »
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Cast

Complete credited cast:
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Michael Chekhov ...
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John Emery ...
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Bill Goodwin ...
Steven Geray ...
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Wallace Ford ...
Art Baker ...
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Paul Harvey ...
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Storyline

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 <col@imdb.com>

Plot Summary | Plot Synopsis

Taglines:

Will he Kiss me or Kill me? See more »


Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

28 December 1945 (USA)  »

Also Known As:

Alfred Hitchcock's Spellbound  »

Box Office

Budget:

$1,696,377 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (Ontario)

Sound Mix:

(Western Electric Recording)

Color:

(Two frames tinted)|

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

David O. Selznick wanted much of the film to be based on his experiences in psychotherapy. He even brought his psychotherapist in on the set to be a technical advisor. Once when she disputed a point of fact with Alfred Hitchcock on how therapy works, Hitchcock said, "My dear, it's only a movie." See more »

Goofs

When Dr.Brulov asked Dr. Constance to see her notes, her bow tie will change in its shape and position in the next scene. See more »

Quotes

[first lines]
Nurse: [offscreen] Miss Carmichael, please. Dr. Petersen is ready for you.
See more »

Crazy Credits

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 »

Connections

Referenced in Alfred Hitchcock Presents: Number Twenty-Two (1957) See more »

Soundtracks

Spellbound Concerto
(uncredited)
Composed by Miklós Rózsa
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Murderous mind games
25 April 2013 | by (United Kingdom) – See all my reviews

Hitchcock marshaled some strong forces for this dark exploration of the psyche, with A-list leads in Gregory Peck and Ingrid Bergman, plus crack writer Ben Hecht and perhaps most famously Surrealist artist Salvador Dali to create Peck's defining dream sequence. It's still Hitchcock's film though.

And a very watchable one at that. It has its faults, with almost every scene carrying some expository message, none more so than when Bergman's psychiatric nurse pieces together not only how the real Dr Edwardes' was murdered but where and by whom, glaring plot-gaps, plus it just has too many words, but helped along by some typically stylish direction from the Master, with some memorable set-pieces along the way, it's still a reasonably gripping and exciting noir-esque movie.

No matter that Peck and Bergman don't seem right for their parts, they play out the fantastic plot with conviction and almost have you think they mean it while U.N.C.L.E.'s Mr Waverley Leo G Carroll is excellent as the displaced hospital governor.

As for those set-pieces, nothing outdoes Dali's memorable sequence containing many of his artistic talismen, such as soft constructions, masked figures and eerie landscapes, but Hitch gets in his tuppenceworth too with Bergman's doors-opening first kiss, another suspense-ful drink of milk (after "Suspicion") and the subjective finishing shot (literally) which must have blown away (again, literally) its original audience. However there are also many less showy, subtle touches with unusual camera angles and fluid camera movements sewn seamlessly into the whole.

To make implausible material like this work takes no little skill and Hitchcock does a grand job in taking his audience along with him, leaving them if not exactly spellbound, then certainly entertained.


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