| Spellbound | |
|---|---|
 Theatrical release poster | |
| Directed by | Alfred Hitchcock |
| Screenplay by | Ben Hecht |
| Adaptation by | Angus MacPhail |
| Based on | The House of Dr. Edwardes byHilary Saint George Saunders andFrancis Beeding |
| Produced by | David O. Selznick |
| Starring | |
| Cinematography | George Barnes |
| Edited by | Hal C. Kern |
| Music by | Miklós Rózsa |
Production companies | |
| Distributed by | United Artists |
Release dates |
|
Running time | 111 minutes[2] |
| Country | United States |
| Language | English |
| Budget | US$1.5 million[3][4] |
| Box office | US$6.4 million[5] |
Spellbound is a 1945 Americanpsychological thriller film directed byAlfred Hitchcock, and starringIngrid Bergman,Gregory Peck, andMichael Chekhov. It follows a psychoanalyst who falls in love with the new head of theVermont hospital in which she works, only to find that he is an imposter sufferingdissociative amnesia, and potentially, a murderer. The film is based on the 1927 novelThe House of Dr. Edwardes byHilary Saint George Saunders andJohn Palmer.
Filming ofSpellbound took place in the summer of 1944 in Vermont,Utah, andLos Angeles.Spellbound was released theatrically in New York City onHalloween 1945, after which its U.S. release expanded on December 28, 1945. The film received favorable reviews from critics and was a major box-office success, grossing $6.4 million in the United States, and breaking ticket sales records in London. The film was nominated for sixAcademy Awards, including forBest Picture andBest Director, and won in the category ofBest Original Score.
Dr. Constance Petersen is apsychoanalyst at Green Manors, amental hospital inVermont, accused by an unsuccessful suitor colleague of being icy and unemotional. The hospital's director, Dr. Murchison, is forced into retirement shortly after returning from an absence due to nervous exhaustion. His replacement, Dr. Anthony Edwardes, turns out to be surprisingly young. Uncharacteristically, Petersen is immediately smitten with Edwardes, who returns her feelings.
While kissing him, Petersen notices that Edwardes has a peculiar phobia about sets of parallel lines against a white background, displayed on several occasions. She compares his signature with an autographed copy of one of his books, realizing when they do not match that he is an impostor. He confides to her that he has killed the real Edwardes, who was treating him, and taken his place. Suffering from amnesia, he does not know who he really is, but they deduce that he is a doctor when he displays medical knowledge. Petersen believes he is an innocent man with aguilt complex. Overnight, he disappears. Edwardes' assistant arrives and discloses that the Edwardes who spoke to her on the phone is an impostor, and that the real Edwardes is ominously missing.
Petersen tracks the impostor to a New York City hotel, where he is living under the pseudonym "John Brown". Despite his insistence that she leave, she convinces him that psychoanalysis can recover his memories. The two travel toRochester, New York, and stay with Dr. Alexander Brulov, Petersen's former mentor and friend.
The two psychoanalysts interpret a dream that "Brown" describes. He is playing cards in a mysterious club when a scantily clad woman resembling Petersen starts kissing everybody there. His card partner, an older man, is accused of cheating and threatened by the club's masked proprietor. The scene changes to the older man standing on the precipice of a sloped roof and falling off. The proprietor is found to be standing behind a chimney and dropping a wheel he held in his hand. "Brown's" dream concludes with him chased down a hill by a great pair of wings.
"Brown's" phobia of dark lines on white represents ski tracks in the snow, and the older man in his dream is the real Edwardes, who died in a skiing accident. The detail of the wings they deduce to represent Gabriel Valley ski lodge. "Brown" and Petersen travel there to recreate the circumstances of Edwardes' death. However, "Brown" fears that, if he really was Edwardes' murderer, he may impulsively kill again in the same situation.
As they ski down the slope, "Brown" remembers details of his former life: he has a guilt complex, rooted in a childhood accident where he accidentally killed his brother by sliding down a roof and knocking him onto a spiked fence. He also recognizes the cliff where Edwardes fell off, and then "Brown" recalls his own real name: John Ballantyne. Petersen and Ballantyne later meet with the police, who find Edwardes' body with Ballantyne's directions. However, the corpse has a bullet wound in his back. Ballantyne is arrested, tried, and convicted of murder.
Heartbroken, Petersen returns to Green Manors. Murchison, once again the director, lets slip that he knew Edwardes slightly and disliked him, contradicting his earlier statement that they had never met. This inspires Petersen to re-examine her notes of Ballantyne's dream: the masked proprietor represents Murchison and the wheel represents a revolver. Murchison therefore murdered Edwardes and left the gun on the ski slope.
Confronting Murchison to prove her hunch, Petersen gets him to admit that the man in the dream likely represents himself. She presents her accusation, and Murchison replies that she got every detail right but one: he still has the revolver and draws it on her. Calmly, Petersen points out that while he couldplead insanity and get a lesser charge for Edwardes' murder, shooting her in cold blood would guarantee his execution. With the gun still pointed at her, she leaves the office to phone the police, before Murchison turns the gun and shoots himself.
Petersen and Ballantyne, now married, receive well-wishes from Dr. Brulov before departing on their honeymoon atGrand Central Terminal.
Spellbound was made over contract disagreements betweenAlfred Hitchcock and producerDavid O. Selznick. Hitchcock's contract with Selznick began in March 1939, but only resulted in three films:Rebecca (1940),Spellbound andThe Paradine Case (1947) (he made seven other films during that period under loan-out deals to other studios, including 1946'sNotorious which was sold toRKO in mid-production.) Selznick had wanted Hitchcock to make a film based upon Selznick's own positive experience withpsychoanalysis; Selznick, at Hitchcock's suggestion, purchased the rights to the 1927 novelThe House of Dr. Edwardes byHilary St. George Saunders andJohn Palmer (who had co-written it under the pseudonym Francis Beeding), for approximately $40,000.[6]
In December 1943, Hitchcock and his wife,Alma Reville, began working on atreatment of the novel, and consulted prominent British psychologists and psychoanalysts so as to accurately represent the psychological elements of the story.[6] However, the following month, in January 1944, Hitchcock hiredAngus MacPhail, with whom he had collaborated on several war-related short films, to co-author the treatment.[6] MacPhail was ultimately given the adaptation credit, and the extent to which Reville was involved in the final product is unknown.[6] Following the completion of the treatment, screenwriterBen Hecht began writing the screenplay.[6]
Between May and July 1944, Selznick submitted numerous drafts of Hecht's screenplay for approval from theMotion Picture Association of America (MPAA), which objected to various words and phrases in it, including "sex menace," "frustrations," "libido," and "tomcat."[6] This resulted in some alterations in the screenplay, including the removal of most of a character named Mary Carmichael, a violentnymphomaniac at Green Manors.[6] However, thesuicide of Dr. Murchison in the screenplay—which typically violated the MPAA's rules against depicting suicide—was allowed to remain, as it was reasoned by Selznick that the character was clearly "of unsound mind," rendering him an exception.[6]
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Selznick originally wantedJoseph Cotten,Dorothy McGuire, andPaul Lukas to play the roles ultimately portrayed by Peck, Bergman, and Chekhov, respectively.[7][8]Greta Garbo was considered for the role of Dr. Constance Petersen.[8] Hitchcock wanted Joseph Cotten to portray Dr. Murchison.[9] Selznick also wantedJennifer Jones to portray Dr. Petersen but Hitchcock objected.[10][11]
Selznick brought in his owntherapist,May Romm, MD, to serve as a technical advisor on the production.[8] Dr. Romm and Hitchcock clashed frequently.[8]
Further contention was caused by the hiring ofsurrealist artistSalvador Dalí to conceive certain scenes in the film's key dream sequence. However, the sequence conceived and designed by Dalí and Hitchcock, once translated to film, proved to be too lengthy and complicated for Selznick, so the vast majority of what had been filmed ultimately was edited out. Two minutes of the dream sequence appear in the final film, but according to Ingrid Bergman, the original had been twenty minutes long.[12] The cut footage apparently is now considered lost footage, although some production stills have survived in the Selznick archives. Eventually, Selznick hiredWilliam Cameron Menzies, who had worked onGone With the Wind, to oversee the set designs and direct the sequence. Hitchcock himself had very little to do with its actual filming.[12]
Both Bergman and Peck were married to others at the time of production—Bergman to Petter Aron Lindström, and Peck to Greta Kukkonen—but they had a brief affair during filming.[13] Their secret relationship became public knowledge when Peck confessed to Brad Darrach ofPeople in an interview in 1987, five years after Bergman's death. "All I can say is that I had a fiery kinda love for her, and I think that's where I ought to stop... I was young. She was young. We were involved for weeks in close and intense work."[14][15]
Hitchcock's cameo appearance in the film occurs approximately at the forty-minute mark, when he can be seen exiting an elevator at the Empire State Hotel, carrying a violin case and smoking a cigarette. The trailer forSpellbound's original theatrical release in America highlighted this cameo of Hitchcock's, showing the footage twice and even freeze-framing Hitchcock's brief appearance while a narrator points out that the ordinary-looking man in the footage is the director.[16]
Spellbound was shot in black and white, except for two frames of bright red at the conclusion, when Dr. Murchison's gun is fired into the camera. This detail was deleted in most 16mm and video formats but was restored for the film's DVD release and airings onTurner Classic Movies.
Parts of the film were shot inAlta, Utah at the Alta Lodge and Wasatch Ranch.[17] The film's picnic sequence between Peck and Bergmans' characters was filmed at the Cooper Ranch inNorthridge, Los Angeles, while other sequences—such as the train depot scene—were filmed on theUniversal Studios lot.[6]
The film features an orchestral score byMiklós Rózsa that pioneered the use of thetheremin, performed byDr. Samuel Hoffmann. Selznick originally wantedBernard Herrmann, but when Herrmann became unavailable, Rózsa was hired and eventually won theOscar for his score.[12] Although Rózsa consideredSpellbound to contain some of his best work, he said "Alfred Hitchcock didn't like the music — said it got in the way of his direction. I haven't seen him since."[18] In his autobiography, Rózsa wrote that he was saddened that Hitchcock had not congratulated him, or even attempted to contact him, for winning an Oscar for his film's score.[19]
During the film's protracted post-production, considerable disagreement arose about the music, exacerbated by a lack of communication between producer, director, and composer. Rózsa had scored another film,The Lost Weekend, beforeSpellbound was released and had used the theremin in that score as well. This led to allegations that he had recycled music from Selznick's film in the Paramount production. Meanwhile, Selznick's assistant tampered with theSpellbound scoring by replacing some of Rózsa's material with earlier music byFranz Waxman andRoy Webb. The tangled history of the scoring process has been explored by Jack Sullivan (Hitchcock's Music, 2006) and especially Nathan Platte (Making Music in Selznick's Hollywood, 2018), both of which qualify and sometimes contradict the early accounts of the participants.
Rózsa's music achieved great popularity outside the film. Selznick's innovative use of promotional recordings for radio broadcast made the themes familiar and eventually inspired Rózsa to prepare a full-scaleSpellbound Concerto for piano, theremin, and orchestra. This work became a popular staple in the movie concerto genre and has received multiple recordings.Intrada Records made the first recording of the film's complete score with theSlovak Radio Symphony Orchestra. This album also included music not heard in the finished film.[20]
| No. | Title | Length |
|---|---|---|
| 1. | "Main Title; Foreword" | 3:13 |
| 2. | "Green Manors" | 0:51 |
| 3. | "First Meeting" | 2:11 |
| 4. | "The Picnic" | 2:01 |
| 5. | "The Awakening; Love Scene; The Dressing Gown; The Imposter – Parts 1 & 2; The Cigarette Case" | 16:49 |
| 6. | "The Letter" | 0:30 |
| 7. | "The Empire Hotel" | 1:22 |
| 8. | "The Burned Hand – Parts 1 & 2" | 2:29 |
| 9. | "The Penn Station" | 2:44 |
| 10. | "Railway Carriage" | 1:16 |
| 11. | "Honeymoon at Brulov's; The White Coverlet; The Razor – Parts 1 & 2; Constance Is Afraid" | 10:03 |
| 12. | "Constance and Brulov – Parts 1 & 2" | 4:15 |
| 13. | "Gambling Dream; Mad Proprietors Dream; Roof-Top Dreams" | 2:37 |
| 14. | "Dream Interpretation – Parts 1 & 2; The Decision" | 6:10 |
| 15. | "Train to Gabriel Valley" | 1:23 |
| 16. | "Ski Run; Mountain Lodge" | 5:51 |
| 17. | "Defeat" | 3:15 |
| 18. | "Contance's Discovery" | 2:04 |
| 19. | "The Revolver" | 3:05 |
| 20. | "The End" | 0:59 |
| 21. | "End Title – Short" | 0:24 |
The production credits on the film were as follows:
Spellbound opened theatrically in New York City onHalloween 1945, and the following week inLos Angeles, on November 8, 1945. It was subsequently given awide release in the United States on December 28, 1945.[21] It earned rentals of $4,975,000 in North America.[22][23]
Upon the film's British release, it broke every box office record in London, in both famous theaters,Pavilion andTivoli Strand, for a single day, week, month, holiday and Sundays.[24]
In 1999,Anchor Bay Entertainment releasedSpellbound for the first time onDVD.[25]The Criterion Collection subsequently issued a DVD release in 2002.[26] In 2012,MGM Home Entertainment released the film onBlu-ray.[27]
Spellbound was performed as a one-hour radio adaptation onLux Radio Theatre on March 8, 1948.[28] On January 25, 1951Screen Directors Playhouse also did a one-hour adaptation.[29] Both versions starredJoseph Cotten.
Newsweek's review evaluated the film as "a superior and suspenseful melodrama;"[30]Bosley Crowther ofThe New York Times wrote that the story was "a rather obvious and often-told tale ... but the manner and quality of its telling is extraordinarily fine ... the firm texture of the narration, the flow of continuity and dialogue, the shock of the unexpected, the scope of image—all are happily here."[31]Variety wrote that Bergman gave a "beautiful characterization" and that Peck "handles the suspense scenes with great skill and has one of his finest screen roles to date."[32]Harrison's Reports wrote: "Very good! ... The performances of the entire cast are superior, and throughout the action an overtone of suspense and terror, tinged with touches of deep human interest and appealing romance, is sustained."[33]John McCarten ofThe New Yorker wrote that "when the film stops trying to be esoteric and abandons arcane mumbling for good, rousing melodrama, it moves along in the manner to which Hitchcock has accustomed us ... Fortunately, the English expert hasn't forgotten any of his tricks. He still has a nice regard for supplementary characters, and he uses everything from train whistles to grand orchestral crescendos to maintain excitement at a shrill pitch ... All in all, you'd better see this one."[34] In The Nation in 1945, criticJames Agee wrote, "Alfred Hitchcock's surprisingly disappointing thriller about psychoanalysis, is worth seeing, but hardly more ... I felt that the makers of the film had succeeded in using practically none of the movie possibilities of a psychoanalytic story, even those of the simplest melodrama; and that an elaborate, none-too-interesting murder mystery, though stoutly moored to the unconscious, merely cheapened and got in the way of any possible psychological interest ... As for the dream designed by Salvador Dali, it is ... frankly irrelevant to dream reality, and so to criticism for its lack of reality in that direct sense ... "[35]
Spellbound placed fifth onFilm Daily's annual poll of 559 critics across the United States naming the best films of the year.[36]
Rotten Tomatoes rates the film 85% fresh, based on 40 reviews. Its critical consensus says: "Spellbound's exploration of the subconscious could have benefitted from more analysis, but Alfred Hitchcock's psychedelic flourishes elevate this heady thriller along with Ingrid Bergman and Gregory Peck's star power".[37]
On September 28, 2018, Jake Wilson ofThe Age putSpellbound on his "top five" list, observing: "Today this seems above all a forward-thinking portrait of a woman battling for authority in a man's world."[38]
| Award | Category | Subject | Result |
|---|---|---|---|
| Academy Awards | Best Picture | David O. Selznick | Nominated |
| Best Director | Alfred Hitchcock | Nominated | |
| Best Supporting Actor | Michael Chekhov | Nominated | |
| Best Cinematography | George Barnes | Nominated | |
| Best Original Score | Miklós Rózsa | Won | |
| Best Visual Effects | Jack Cosgrove | Nominated[39] | |
| NYFCC Award | Best Actress | Ingrid Bergman | Won |
| Venice Film Festival | Grand International Award | Alfred Hitchcock | Nominated |
Rózsa's score inspiredJerry Goldsmith to become a film composer.[40][41]
| International | |
|---|---|
| National | |
| Other | |
