it's like someone took the explainer guy from psycho and turned him as a concept into a romance. doctors babble at each other about the rubik's cubes their brains are so happily creating for themselves to just figure out. our head doctor says all women in love are basically medically retarded, and hitchcock basically upholds the ruling: our protagonist is wrong because she is frigid; then, stupid because she loves.
Altro saggio di bravura di Hitchcock. La sceneggiatura non è il massimo della linearità e la vicenda sempre non coinvolgere mai,ma la regia riesce a supplire il tutto in maniera incredibile,con una gestione degli spazi,dei piani,delle luci e delle trovate(quella del sogno) riservata solo agli Eletti.La Bergman si stacca nettamente sul resto e la costruzione del finale(con la manona) è da marchio di fabbrica.
Cinematography by George Barnes. "Desire" list: of all the images that inspire a vision of an unblemished beauty, within the selection of this list, Gregory Peck's disheveled hair, with the leaves stuck in it, after one of his psychological attacks, it's the longer-lasting one in my memory, haunted on his own and scared of himself. With the help of Hitchcock and Barnes, an indelible vision.
Bergman picks up where Fontaine left off, but as a much more dominant heroine. This movie is about our inability to see the internal (and external) reality, yet through expressionistic techniques, Hitchcock persistently visualizes what appears to be subjective images of the characters. The first kiss scene is absolutely beautiful.