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Spellbound (1945)

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


Alfred Hitchcock


Ben Hecht (screen play), John Palmer (suggested by novel: "The House of Dr. Edwardes") (as Francis Bleeding) | 2 more credits »
Won 1 Oscar. Another 1 win & 6 nominations. See more awards »


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Complete credited cast:
Ingrid Bergman ... Dr. Constance Petersen
Gregory Peck ... John Ballantyne
Michael Chekhov ... Dr. Alexander Brulov
Leo G. Carroll ... Dr. Murchison
Rhonda Fleming ... Mary Carmichael
John Emery ... Dr. Fleurot
Norman Lloyd ... Mr. Garmes
Bill Goodwin ... House Detective
Steven Geray ... Dr. Graff
Donald Curtis ... Harry
Wallace Ford ... Stranger in Hotel Lobby
Art Baker ... Det. Lt. Cooley
Regis Toomey ... Det. Sgt. Gillespie
Paul Harvey ... Dr. Hanish


Dr. Constance Petersen (Ingrid Bergman) is a psychiatrist at Green Manors mental asylum. The head of Green Manors has just been replaced, with his replacement being the renowned Dr. Anthony Edwardes (Gregory Peck). Romance blossoms between Dr. Petersen and Dr. Edwards, but Dr. Edwards starts to show odd aversions and personality traits... Written by grantss

Plot Summary | Plot Synopsis


Will he Kiss me or Kill me? See more »


Approved | See all certifications »

Parents Guide:

View content advisory »






Release Date:

28 December 1945 (USA) See more »

Also Known As:

The House of Dr. Edwardes See more »


Box Office


$1,696,377 (estimated)

Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

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Technical Specs


| (Ontario) | (with overture and exit music)

Sound Mix:

Mono (Western Electric Recording)


Color (brief sequences tinted)| Black and White

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


The first preview took place on September 27, 1944, after which, Producer David O. Selznick deleted an opening montage showing treatment of mental cases. After principal photography was completed, Selznick was involved with sound re-recording of the dialogue and the editing, eliminating about fourteen minutes of the movie. See more »


When John Ballantine, after seeing snow in Dr. Brulov's house, drops and breaks a cup full of coffee, no coffee spills on the carpet. Instead, we see some thin black disc made from wood or plastic pasted into the cup. See more »


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

Crazy Credits

Just before the opening credits, an overture is played. See more »

Alternate Versions

In 1999, The Walt Disney Company, which now owns much of the David O. Selznick collection, restored the film, reinstating Miklos Rosza's overture/exit music and the flash of red from the gunshot scene that were previously omitted from later prints. See more »


Referenced in Sunny Side Up (1994) See more »

Frequently Asked Questions

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User Reviews

"Rather like embracing a text book"
29 July 2009 | by Steffi_PSee all my reviews

Cinema works best as even-handed, non-egotistical collaboration. Total control by one individual can be hit-or-miss, depending on their proficiency. But what is almost always disastrous is the collision between two dominating personalities. Of the four features produced by David O. Selznick and directed by Alfred Hitchcock, Spellbound is probably the one in which suffers most from them treading on each other's toes.

Selznick was a rare kind of producer, who rather than simply trying to come up with the most successful money-making formulas, also used his pictures as showcases for his own favourite themes. Spellbound was the result of a passing interest in psychoanalysis, and while Hitch was apparently not against the idea of doing a shrink flick, Selznick's influence places too much emphasis on it. It's also ridiculously laudatory, the foreword and opening scenes giving you the impression that psychoanalysis is as straightforward and effective as prescribing a dose of antibiotics.

The structure of Spellbound is also not ideally suited to the Hitchcockian mode of suspense, which was based upon revealing the identity of the villain to the audience and then creating tension from making us wonder when and how they will strike again. Sometimes, as in Shadow of a Doubt or Rear Window, the killer would not be identified with certainty, but Hitch would immerse us in the suspicions of the central character, and this worked just as well. In some respects it looks as if Spellbound is an example of the latter. There appear to have been some attempts to create suspense out of the possibility that Gregory Peck's character is a murderer, and there are some typical Hitchcock moments like the business with the razor that play upon this. The trouble is, all those point-of-view shots placing us inside Peck's innocent confusion make it impossible for us to accept him as a killer, not even one who has forgotten his crimes. As such these tense moments, while nicely constructed in themselves, have no impact. The final "twist", when it arrives in the last five minutes seems tacked on, and does not shock or satisfy in any way.

Spellbound is also an example of why we don't see many outstanding acting performances in Hitchcock movies. It's not just because Hitch didn't give any coaching to his cast members (neither did William Wyler, and his pictures are always superbly acted), it's just that his films are too technical to show off the actors to the best of their abilities. Ingrid Bergman was an exceptional actress, but because of the way Hitch works, the key moments in her performance are cut up into fleeting reaction shots, close-ups of hands and so forth. The best impression we get of her acting is in a fairly mundane scene, when she is fending off the unwanted attentions of Wallace Ford, a moment Hitchcock allows to play out in a mid-shot unbroken take. Spellbound does contain one of the few Oscar-nominated performances in a Hitchcock picture – Michael Chekhov as Dr Brulov. He is not bad, although due to the nature of his part he gets the benefit of more conventional shots which capture his best – hence why he got a nod while Ms Bergman didn't.

The one Oscar that Spellbound did win was for the Miklos Rozsa score, although it's inferior to his work on The Lost Weekend, which was also nominated. His music for Spellbound is a little overbearing, and is incredibly heavy in the romantic scenes. It's also very sweepingly sentimental, which jars somewhat with Hitch's rather aggressive styling of these moments. Still, there is some intelligent orchestration, and it is rather effective the way it suddenly breaks into a minor key version of the love theme on the theremin when something triggers Peck's memories.

In spite of all its flaws, Spellbound is still a very watchable picture. The screenplay is by the reliable Ben Hecht, and it moves forward at a solid pace. Hitchcock's to-the-point style of direction may not have been flattering to the cast, but at least it makes the story clear and easy to digest. However, this process of unravelling a mystery does not provide him with opportunities for suspense, or at least not his kind of suspense. Selznick got his "psycho", but this is a mediocre entry for the master.

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