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Why Alfred Hitchcock’s Spellbound, Despite 6 Oscars, Remains Shockingly Overlooked Today

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Throughout his illustrious and productive career, Hitchcock has created numerous iconic films, yet some of his most remarkable works often go unrecognized in today’s context. Classic titles such as “Psycho,” “Vertigo,” “Rear Window,” “North by Northwest,” and “The Birds” are the ones that typically come to mind when discussing this director. These films tend to be a starting point for modern audiences to discover Hitchcock. However, as curious fans delve deeper into his extensive collection of movies, they will undoubtedly unearth some lesser-known treasures that may have evaded their notice up until now.

As a movie enthusiast, I’ve always been captivated by the legendary Alfred Hitchcock’s work, yet many overlook his early gems from the 1920s and 30s that are just as compelling as his famous titles. Take, for instance, “The Man Who Knew Too Much” from 1934, “Sabotage” from 1936, and “Shadow of a Doubt” from 1943 – all brimming with stellar performances and everything that defines a Hitchcock classic. However, these underrated masterpieces are often skipped over when diving into his filmography.

One such underappreciated gem is the intriguing “Spellbound”, released in 1945. Starring Ingrid Bergman and Gregory Peck, this film garnered six Academy Award nominations, including Best Picture and Best Director, and even won for Best Original Score. Yet, it’s seldom recognized as one of his greatest works when compared to the films generally considered Hitchcock’s masterpieces.

Spellbound Is One of Three Hitchcock-Bergman Collaborations

It Is Also One of Three Hitchcock Films Produced by David O. Selznick

In the movie “Spellbound”, Gregory Peck and another leading actor share the spotlight, but it is Ingrid Bergman who truly captivates the audience. She portrays Dr. Constance Peterson, a compelling psychologist who sets aside objectivity when she falls for a man against the rules. However, it’s her unique ability to harmonize reason and emotion that drives the storyline, making her the central character. Compared to the other male characters, Constance is more complex and powerful. But what truly elevates her character is Bergman’s mesmerizing performance. This film marks their first collaboration, with Bergman and Hitchcock later teaming up for “Notorious” and “Under Capricorn”. Unlike many of his other collaborations, the pairing of Hitchcock and Bergman was marked by a strong friendship and effective partnership.

In the cinematic realm, the director’s second film was a captivating masterpiece: “Spellbound”, which was produced by the influential figure of that era, David O. Selznick. Known as one of the pioneering independent producers within Hollywood’s studio system, Selznick played a pivotal role in bringing the talented Alfred Hitchcock from England to America, and it proved to be a profitable move. Their first collaboration, “Rebecca”, garnered an impressive eleven nominations at the 13th Academy Awards, more than any other film that year. It won Best Picture and Best Cinematography, making it the only film to achieve this double honor. The remarkable success of “Rebecca” may have been the reason Selznick continued to work closely with Hitchcock, despite their creative differences. Their contract began in March 1939, but only three films were produced under Selznick’s direct supervision. Most of the titles made under this contract ended up being produced in other studios through loan-out deals.

As a passionate film enthusiast, I must share my thoughts on “Spellbound,” a movie that may not have garnered as much acclaim as “Rebecca” at the time of its release, but it certainly held its own. It was one of the most successful films of its year, earning favorable reviews, raking in $6.4 million in the US, and shattering box office records in London. The remarkable trio of Alfred Hitchcock, Ingrid Bergman, and David O. Selznick would never collaborate again after “Spellbound.” Their next joint project was “Notorious,” arguably their most renowned collaboration and one of Bergman’s greatest successes after “Casablanca.” Produced at RKO as part of a loan under the contract with Selznick International Pictures, “Notorious” was released during a period when Hitchcock primarily focused on romantic thrillers. In the grand scheme of Hitchcock’s career, “Spellbound” is often overshadowed by more famous works like “Rebecca,” “Notorious,” and “Under Capricorn.

The influence of Selznick on the creation of “Spellbound” is immense, given that he was not only the originator of the idea but also an active and dedicated producer. Being deeply intrigued by psychoanalysis due to his personal positive experiences with it, Selznick encouraged Hitchcock to direct a film about this subject. The result was their decision to adapt the 1927 novel “The House of Dr. Edwardes.” Selznick acquired the adaptation rights for around $40,000. Hitchcock, known for his meticulous attention to detail as both a producer and director, worked extensively on the project, from script to soundtrack. Along with his wife, Alma Reville, a renowned screenwriter, they began crafting the story in 1943. Over two years, Hitchcock supervised the writing of the final treatment by Angus MacPhail and the script by Ben Hecht. However, during production, Selznick introduced his own therapist as a technical advisor, leading to some disagreements on set. Despite these creative differences, they ultimately produced an excellent film.

Spellbound Is More Romance Than Suspense

Psychology Is Used To Solve a Murder Mystery

Known as the ‘Master of Suspense’, Alfred Hitchcock isn’t typically associated with romantic storytelling, but his film “Spellbound” challenges this notion. Unlike other films where romance might be a secondary aspect, “Spellbound” is essentially a love story cloaked in the garb of a thriller. Although it does contain a central murder mystery and several suspenseful moments, like the tense scene on a ski slope, the narrative primarily revolves around the deep-seated affection between the main characters. In fact, “Spellbound” could be seen as Hitchcock’s most eloquent exploration of love, largely due to its surrealistic and psychological elements.

The movie “Spellbound” weaves a love story around a murder mystery and disguised identities, but it’s unique within Hitchcock’s filmography for its exploration of surrealism, psychology, and the correlation between love, madness, and dreams. This tale is powered by a woman’s strength, as portrayed in the tagline “the maddest love that ever possessed a woman.” The unusual relationship between Constance and JB unfolds, emphasizing the rarity of instantaneous love like theirs. There is no rational explanation or way out once they lock eyes; they must simply accept it. A memorable scene is their first kiss, captured in a stunning double exposure shot as doors successively open. This innovative cinematography was one of Hitchcock’s early experiments with surrealism, which later influenced his most renowned visuals, such as the dream sequence in “Vertigo.

throughout the story, Constance is the strong, intelligent, resourceful protagonist, while JB often faints and feels despondent due to his misfortune, relying heavily on Constance. In matters of love, she trusts her instincts more than reason. However, she also employs her psychological skills to solve the film’s mystery independently and craft her own satisfying conclusion. Many consider Constance to be Hitchcock’s finest female character in his entire filmography.

In the movie, Constance and JB stand out as a captivating couple who defy traditional norms. Their love is not just instant or forbidden but also characterized by their intense emotions, leading them to behave in unconventional ways. A notable example of this is their impromptu kiss on the train, which was unusual for couples during that era as public displays of affection were typically reserved for station goodbyes.

The couple’s intrigue lies not only in the woman taking charge of the plot but also in numerous other details that make them fascinating to watch. They embark on an “us against the world” journey, often acting as if they are alone and nothing else matters. Their chemistry, particularly between Bergman and Peck, is undeniable. In an interview with People Magazine in 1987, they admitted to having an affair during filming, which seems fitting given their on-screen connection.

Psychology in 1945 Was Not What It Is Today

But Feminism Is Still Fighting Problems Shown in Spellbound

As a movie aficionado, I must admit that diving into a 1945 film doesn’t mean we should expect it to align with modern viewpoints. However, some films have an uncanny ability to stand the test of time and shape public opinion in subtle ways. For me, Alfred Hitchcock’s “Spellbound” is one such movie that showcases a relatively feminist perspective on Dr. Constance Peterson, a character that defies the norm of how women are often portrayed in Hitchcock’s oeuvre. This isn’t merely because she is a strong character; it’s also due to the film’s deliberate exploration of the absurdity and inappropriateness of certain male behaviors towards Constance, which adds depth to her portrayal.

The movie frequently portrays instances of inappropriate behavior towards her, underscoring the stark contrast between genuine romantic encounters and such actions by men. Scenes ranging from her coworker forcefully kissing her to an unfamiliar man intruding on her space in a hotel lobby serve as unsettling reminders of the experiences many women face, both in 1945 and 2025. Notably, the scene where the hotel lobby man persists in his harassment despite her stating she’s not interested, only ceasing when another man intervenes, underscores this reality. He resumes his harassment upon finding her alone again, until the other man returns. Despite not being revolutionary in its ideology, Spellbound offers an authentic portrayal of women’s emotions and thoughts.

In a different setting, Constance isn’t always vocal about her own thoughts, yet she consistently outwits the men around her. And she wasn’t alone in breaking traditional Hollywood norms for a 1945 film. As Mary Carmichael, a patient at Green Manors in the movie Spellbound, she once mentioned, “Hitchcock informed me I was going to play a sexually-driven woman. Upon returning home, I looked up the term in the dictionary and was quite taken aback.” It’s worth noting that Rhonda Fleming originally had a more significant role in the film, but her character’s scenes ended up being reduced due to the strict censorship rules during that era.

The straightforward representation of the guilt complex, amnesia, and the unveiling of the actual murderer in the film Spellbound detracts from its overall quality. The portrayal of mental illnesses in the movie has become outdated over time. However, it’s worth noting that there are some well-crafted dialogues, such as the scene where Constance skillfully talks her way out of being shot, similar to Dr. Edwardes. Additionally, the film stands out due to its top-notch writing, innovative use of photography, editing, set design, and other aspects, making Spellbound a one-of-a-kind viewing experience.

Spellbound Is Disruptive Despite the Censorship

It Was Going To Be Even More Experimental

In a twist of irony, Alfred Hitchcock envisioned Spellbound as a more groundbreaking film than what ultimately graced our screens. As per Ingrid Bergman’s accounts, Hitchcock initially intended the dream sequence to consume roughly twenty minutes of runtime, which Selznick vehemently opposed, trimming it down to just two minutes. This drastic reduction left a sour taste in my opinion.

To salvage the Dalí-inspired dream sequence, Selznick brought on board William Cameron Menzies, a pioneer in production design, who had orchestrated the iconic burning of Atlanta scene in Gone with the Wind. Given creative freedom by Selznick, Menzies oversaw the re-shooting of this sequence in Spellbound, leaving Hitchcock largely on the sidelines.

Not only does the dreamlike segment stand out in Spellbound, but several other scenes intended to be jarring actually fell short of their mark. The film is primarily shot in black and white, with just two vibrant red frames at the climax, when a gunshot is fired towards the camera. Initially, there was uncertainty about whether to portray a suicide scene, and it had to be executed delicately. In 1945, David O. Selznick faced numerous revisions of the script for approval by the Motion Picture Association of America (MPAA), who often objected to certain scenes, particularly those with sexual undertones. This resulted in the reduction of Rhonda Fleming’s role as a character with nymphomaniac tendencies. However, the suicide scene was permitted to stay, as Selznick successfully argued that the character was mentally unstable, making him an exception.

When examining Alfred Hitchcock’s early films, it’s crucial to remember his battles with censorship. He significantly tested the boundaries set by the Hays Code in productions after a certain point, but prior to this, he consistently pushed against these restrictions. Although many of these attempts were not entirely successful, they paved the way for the groundbreaking film Psycho, which revolutionized horror cinema. One such partially unsuccessful attempt at defying norms is seen in the movie Spellbound.

Although renowned as a forward-thinking filmmaker, Alfred Hitchcock wasn’t infallible. Interestingly, he had reservations about one aspect of his own work – the soundtracks, which were overseen by producer David O. Selznick. To create the music for “Spellbound”, Selznick hired Miklós Rózsa, a pioneer in the use of the theremin, and enlisted the services of Dr. Samuel Hoffmann to perform it. Rózsa regarded “Spellbound” as some of his finest work, earning him an Oscar for the score, yet Hitchcock never acknowledged this achievement. As Rózsa put it, “Alfred Hitchcock found the music too intrusive – he felt it interfered with his direction.

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2025-04-20 16:12

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