CINEMA, 35 mm _ Rewatched (third time but first on big screen). Such a strange film, both modern and not, where everything is below average until this amazing kissing scene. Dali´s dream sequence is perfectly designed and the old Alex give a surprising and refreshing tone to the film that really needed it at that point. Bergman is exquisite but i agree with Truffaut on the fact that Peck is not an hitchcockian actor.
2-3. The intent: a female psychoanalyst's emotions give her the edge up on her male colleagues in solving a mystery. The outcome: a deeply stupid woman uses bad science to unravel a series of contrivances while being battered by misogynistic drivel from even 'likable' characters. It is gorgeous, however, thanks to Hitchcock's practiced hand. It's just the script that isn't up to his craft.
Like many Hitchcock thrillers, it is quite restrained and its psychoanalysis backdrop gives some scenes a tedious quality. Nevertheless, the performances are all solid (Peck and Chekhov take the cake) and I enjoyed the twist at the end. The dream sequence was also effective if a bit short and the scene in which Chekhov drugs Peck was also done well.
how people can rave about Marnie (which is the dollar store version of Spellbound, with terrible execution, given it is a 60's movie) and still argue Spellbound is silly is something I'll never understand. If the poor psychoanalysis prevents one from enjoying this then I fail to understand how one could enjoy other Hitchcock films with equally delirious plots, just enjoy this dream of a movie and shut the f* up
Another fascinating Alfred Hitchcock thriller that gets added value due to the surrealistic dream landscapes that were added by artist Salvador Dali. Ingrid Bergman looks fantastic and is a excellent heroine to follow as she tries to solve the mystery nature of Gregory Peck, who is like a wandering sleepwalker throughout the film. The excellent directed climax is an effective ending to a strong mystery movie.
The atmosphere of this film creeped me out as a kid. Now, it looks like a very silly, flimsy, melodramatic picture, whose Freudian psychoanalytic detective work is as pseudo-scientific as anything in a cheesy 50s atomic monster movie. The form, however, is strong, and with the involvement of Bergman, Selznick, and Dali, it's Canonical by default. If only it latched onto the irrationality under the surface.