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Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles
in psycho-analysis and the troubles of the mind. Constance Peterson is a
renowned psycho-analyst, whose ability to analyze data is unquestionable, but
who has no life outside of her work. This all changes the day the new Chief of
Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s
barriers break down in a flash.
Critics have noted that Alfred Hitchcock always had trouble with women. His
films are known for having blond women portraying troubled, morally challenged
women. This holds true in Spellbound, with Constance’s initial emotional
frigidity, which later gives way to intellectual stupidity. In Spellbound,
Hitchcock’s treatment of women is at an all time low. Constance is dismissed
repeatedly throughout the film, as not being capable of clear, intellectual
thought because she is in love. Before she falls in love, she is dismissed as a
cold fish, incapable of feeling, and her femininity is challenged. There is
therefore no middle ground left.
Despite the inherent sexism of the film, the story is captivating. We soon find
out that Edwardes is not who he claims to be. He is in fact an imposter, who
has no idea who he really is. Suffering from amnesia, he is impersonating the
real Edwardes, who is assumed to be dead. The intrigue is kept high, and we are
never certain whether the man, called J.B. after initials found on a cigarette
case he found on himself, is a killer or not. Constance, going against reason,
decides to help him. Despite evidence to the contrary she will not believe that
a man she loves is capable of murder. Spellbound is a good mystery, with
entertaining characters, which keeps you guessing until the end. What I found
surprising in this film is that everyone in it is so refreshingly smart. Unlike
in other mystery/suspenses, the audience never knows more than the characters,
and we are kept on a level playing field. While far from Hitchcock’s best,
Spellbound is much too overlooked. The film has a dazzling dream sequence
crafter by surrealist Salvador Dali, good story, but more importantly it shows
greater insight into the man behind the camera, Hitchcock himself.
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