Plenty to Like, Plenty to Dislike

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Blistering performances.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Years before "Marnie" focused on someone who reacts to a certain color, Alfred Hitchcock focused on the topic in "Spellbound". Ingrid Bergman plays a psychoanalyst in a mental hospital whose new director (Gregory Peck) has a strange aversion to lines in white, and he starts having doubts about his identity.Much of the plot struck me as routine, but there's one thing in the movie that really makes it worth seeing: the dream sequence. Designed by Salvador Dalí, it rivals Darren Aronofsky's movies in surrealism. When you think about it, it's too bad that Hitch and Dalí didn't collaborate more. They could've come up with some impressive things.I should say that it's not Hitch's best movie. There were a few scenes that made me think "that's not what would happen", and the ending came across as sort of a cop-out. But overall, the Sultan of Suspense shows the same flair for filmmaking that he usually does. I guess that the focus on psychoanalysis predicts AH's most famous movie.PS: Michael Chekhov (Dr. Brulov) was the nephew of playwright Anton Chekhov.

The fact that it is too large space in the film set for a psychiatric practice or form of psychoanalysis is intriguing and interesting. However, later it can be seen that other elements do not come to the fore which is certainly a negative impact on my perception. SPELLBOUND is a film about a charming woman, a psychiatrist who suppresses his profession and for the love of the patient embarks on a journey common deep emotional psychoanalysis.The story is solid round and good. The suspense is present, but I think Hitch made an exception and paid attention to the relationship between the character more than usual. That is why we are movie seems long and witnessed choppy. Expect the unexpected. This film is too obvious. The acting is solid. Dialogues are, given the subject matter, could be better. Set design is excellent. Large wooden hand. Sequences containing "glass" or "gun" are certainly innovative and fascinating.I can not help feeling by which I of this film expecting more. Romance is at times very strong and presence, while in another vision I have a feeling that this is a done romantic illusions. The director did not convince me not the one nor the other. The two main characters are psychologically and physically persecuted. Hitch is "pursue" additional bewitched with symbolic effects.Ingrid Bergman as Dr. Constance Petersen is charming and dominant in every sense. In this case, a woman in love is a very strong and determined. I think that Bergman did not receive enough stimulation from other actors. Otherwise her performance was brilliant. Constance is strong support in the story. Gregory Peck as Dr. Anthony Edwardes/John Ballantyne is in a subordinate position. The dominant actor is difficult to fit into such a situation. Paired with Bergman does not act badly. I think it is no match for the psychological drama in which he can take over the dominant role. He was 29 and it is somewhat understandably.I have a feeling that I watched pretty good movie where something's wrong.

To all closet male oglers, I was spellbound just looking at Ingrid Bergman who is at her most beautiful in this movie. The film can be watched simply to ogle at her. Peck looked young and wiry. He came across as younger than Bergman's character. The chemistry between them was great. The background score during the romantic scenes was very affecting.There is a role reversal in the film. Bergman plays the pivotal role (usually played by males) and it is she who is sexually attracted to Peck's mentally ill character and goes out her way at great personal risk to save him.There are the usual bunch of curious bit characters that you see in Hitch movies - the nymphomaniac at the beginning of the film who scratches film, the lecher at the hotel and Bergman's strange mentor who mouths weird dialogs like "any husband of Constance is my husband".There is a dream sequence designed by Dali. It was too arty for what was a pretty over the top film. The story and plot are preposterous, I wonder whether Hitch took it all too seriously. But the way Hitchcock directs it, its pretty entertaining.Not the best Hitchcock, but even when he's not at his best, it is very very watchable.The film begins and ends with the background score being played for a few minutes.Best Regards, Pimpin.(7/10)

Even when Hitchcock stretches the bounds of reality, it is still such a trip. As Ingrid Bergman does everything she can to validate her feelings for an amnesiac with whom she has fallen in love, she puts herself in grave danger. Not only does she not know what lurks in the mind of Gregory Peck's character, but she does know that the police could be around every corner. Of course, everything here is Freudian and assumes that psychoanalysis is the only answer. Enter Salvador Dali. Imagine being a movie director who can call in one of our greatest artists and surrealists to do a part of his film. This set of scenes from the unconscious mind is about as memorable as anything that has ever been done in the movies. Some might call it pretty schmaltzy and convenient, but it is still remarkable. Of course, we know that all will be well. Hollywood at the time was pretty predictable. Nevertheless, watching great actors like Bergman and Peck play off one another makes it worth the price of admission.