Watch: Spellbound 1945 123movies, Full Movie Online – 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….
Plot: When Dr. Anthony Edwardes arrives at a Vermont mental hospital to replace the outgoing hospital director, Dr. Constance Peterson, a psychoanalyst, discovers Edwardes is actually an impostor. The man confesses that the real Dr. Edwardes is dead and fears he may have killed him, but cannot recall anything. Dr. Peterson, however is convinced his impostor is innocent of the man’s murder, and joins him on a quest to unravel his amnesia through psychoanalysis.
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|7.5/10 Votes: 49,037|
|85% | RottenTomatoes|
|79/100 | MetaCritic|
|N/A Votes: 706 Popularity: 12.397 | TMDB|
This intriguing little crime/thriller from the great Alfred Hitchcock isn’t half bad. It’s a more unusual Hitch effort, but the story has plenty of twists and turns to keep interest. Ingrid plays a kindhearted psychologist who falls in love with the new doctor at the asylum where she’s working, but he may not be all that he seems. I’m sorry, Ms. Bergman; it looks like you’ve fallen in love with a psycho.
When Leo G. Carroll (“Dr. Murchison”) steps down as director of the “Green Manors” – a centre for psychoanalysis, he is replaced by Gregory Peck (“Dr. Edwardes”) who immediately attracts the attention – romantic and professional – of Ingrid Bergman (“Dr. Petersen”) who quickly discovers that he has quite a secret. Together they must work speedily to unravel a mystery of memory and murder before the authorities come to their own conclusions. This isn’t my favourite Hitchcock thriller – Peck hasn’t quite got the charisma or intensity the part required and though Bergman is beautiful; she is still just a little too stilted, unnatural even. The plot, however is complex and intriguing dealing with a traditional crime-noir subject in a far more cerebral manner. Miklós Rósza’s Oscar winning score adds much of the menace to this and the pace smoulders nicely to a suitably thoughtful conclusion. I know Peck was David O. Selznick’s golden boy at this point, but I cannot help but think he let’s the thing down a bit; perhaps Hitch should have cast a more characterful lead? Great stuff, nonetheless though – certainly worth a watch.
Visually stylish but hopelessly silly oddity
I recently saw this film on the large screen after having not seen it for over 10 years. My memories of it were not that fond — I recalled it as an unusually melodramatic and not very convincing thriller enlivened by a very attractive cast.
What I had forgotten about was how almost impossibly silly all the psychoanalytical claptrap is, especially in the first couple of reels, which thereby make us feel very quickly that we’re not quite in the mature, masterful grip of Hitch’s usual wit and taste. Yes, I know this was made in the 40’s, but the first 20 to 30 minutes of the film have more sexist moments and infantile behavior by supposed doctors than one would ever expect from either Hitch or Ben Hecht.
So who’s to blame? One guess — David O. Selznick! That being said (along with the fact that the story doesn’t really add up to much of anything, since all the premises on which it’s based seem so shaky, naive and downright goofy), the film has some things going for it. About midway through the picture, when Michael Chekhov appears as Dr. Brulov, the film suddenly kicks into what we might call “classic British Hitch mode,” with the kind of understated wit and ensemble playing the director had been doing so well since the early 30’s. It almost becomes another (and far more palatable) film at this point. The scenes with Bergman, Peck and Chekhov are the highlight of the film, and I have to admit that I’m even kind of fond of the hotel lobby scene, with the appealingly breezy Bill Goodwin (of “Burns and Allen” radio fame) as the house detective. Peck has never been more handsome, in a strangely fragile way.
Also worth a look are the brief but truly unusual Dali-designed dream sequences. There is something to be said for Miklos Rozsa’s score as well: although it edges a bit far into soupy overscoring, the expressive main theme has quality, and his use of the theremin (which he also employed in his score for THE LOST WEEKEND at virtually the same time) is striking and represented “something new” in film music.
One could easily make excuses for this film based on “it was only 1945” or “what people knew about psychoanalysis was still naive”, etc., but even taken in context of its time it’s a pretty silly film without the kind of sustained surety of style leavened with simultaneous suspense, intelligence, taste and humor that he had already proved he could do so well from more than ten years earlier. Given a standard he had already given us with examples from THE 39 STEPS or YOUNG AND INNOCENT through THE LADY VANISHES in the UK, or FOREIGN CORRESPONDENT and SHADOW OF A DOUBT here in the US, this film seems not up to his true capacities, and like his other Selznick-produced American film, REBECCA, seems both overfussy and filled with emphases and spoonfeeding of details which Hitch himself would never have given us.
You need only compare this film with his very next one, NOTORIOUS, to be painfully aware how much better Hitchcock on his own — using his own standards of pace, momentum and the ADULT treatment of script themes — could be when not under the thumb of Selznick. Thank God he didn’t have to work for him any more after this.
The Dream Sequence Makes This Movie Worthy
In Green Manors mental institution, Dr. Constance Petersen (Ingrid Bergman) is initiating her career of psychoanalyst and is considered a cold woman that has no time for love by her colleagues. When the head of the hospital Dr. Murchison (Leo G. Carroll) is forced to retire by the board after a breakdown, his replacement is the successful Dr. Anthony Edwardes (Gregory Peck) that is so young that surprises the other doctors in his arrival. Constance and Edwardes immediately fall in love for each other, but in a couple of days later it is disclosed that the man that supposes to be Dr. Edwardes in indeed an impostor that seems to be a paranoid amnesiac with guilty complex that might have killed the famous psychoanalyst. He goes away from Green Manors to the Empire State Hotel in New York and leaves a message to Dr. Constance that decides to find him. She sneaks and travels to New York, where she meets him lodged with the identity of John Brown. Dr. Constance decides to heal him recovering his memory and discover the fate of the true Dr. Anthony Edwardes.
“Spellbound” is far from being among my favorite Hitchcock’s movies, but there is at least one unforgettable moment in this suspenseful but dull romance: the sequence of John Ballantine’s dream based on designs of Salvador Dali. Ingrid Bergman performs a psychoanalyst vulnerable in many moments and with unacceptable attitudes, like for example, prioritizing to open her correspondence that giving attention to her mentally ill patient Mr. Garmes or her juvenile rapture with Gregory Peck’s character. My vote is seven.
Title (Brazil): “Spellbound – Quando Fala o Coração” (“Spellbound – When the Heart Speaks”)
Original Language en
Runtime 1 hr 51 min (111 min), 1 hr 35 min (95 min) (Ontario) (Canada), 1 hr 58 min (118 min) (with overture and exit music)
Genre Film-Noir, Mystery, Romance
Director Alfred Hitchcock
Writer Ben Hecht, John Palmer, Hilary St George Saunders
Actors Ingrid Bergman, Gregory Peck, Michael Chekhov
Country United States
Awards Won 1 Oscar. 6 wins & 6 nominations total
Production Company N/A
Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Film Length 3,048.3 m (12 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm