🎦 Spellbound full movie english download, Spellbound full movie download mp4 in english, Spellbound full movie free download in english. 🎬
Thriller, Mystery, Romance, Film-Noir
IMDB rating:
Alfred Hitchcock
Ingrid Bergman as Dr. Constance Petersen
Gregory Peck as John Ballantine
Michael Chekhov as Dr. Alexander 'Alex' Brulov
Leo G. Carroll as Dr. Murchison
Rhonda Fleming as Mary Carmichael
John Emery as Dr. Fleurot
Norman Lloyd as Mr. Garmes
Bill Goodwin as House detective
Steven Geray as Dr. Graff
Donald Curtis as Harry
Wallace Ford as Stranger in Hotel Lobby
Art Baker as Det. Lt. Cooley
Regis Toomey as Det. Sgt. Gillespie
Paul Harvey as Dr. Hanish
Storyline: The head of the Green Manors mental asylum Dr. Murchison is retiring to be replaced by Dr. Edwardes, a famous psychiatrist. Edwardes arrives and is immediately attracted to the beautiful but cold Dr. Constance Petersen. However, it soon becomes apparent that Dr. Edwardes is in fact a paranoid amnesiac impostor. He goes on the run with Constance who tries to help his condition and solve the mystery of what happened to the real Dr. Edwardes.
Type Resolution File Size Codec Bitrate Format
HQ DVD-rip 992x720 px 5596 Mb h264 6622 Kbps mkv Download
"Rather like embracing a text book"
Cinema works best as even-handed, non-egotistical collaboration. Total control by one individual can be hit-or-miss, depending on their proficiency. But what is almost always disastrous is the collision between two dominating personalities. Of the four features produced by David O. Selznick and directed by Alfred Hitchcock, Spellbound is probably the one in which suffers most from them treading on each other's toes.

Selznick was a rare kind of producer, who rather than simply trying to come up with the most successful money-making formulas, also used his pictures as showcases for his own favourite themes. Spellbound was the result of a passing interest in psychoanalysis, and while Hitch was apparently not against the idea of doing a shrink flick, Selznick's influence places too much emphasis on it. It's also ridiculously laudatory, the foreword and opening scenes giving you the impression that psychoanalysis is as straightforward and effective as prescribing a dose of antibiotics.

The structure of Spellbound is also not ideally suited to the Hitchcockian mode of suspense, which was based upon revealing the identity of the villain to the audience and then creating tension from making us wonder when and how they will strike again. Sometimes, as in Shadow of a Doubt or Rear Window, the killer would not be identified with certainty, but Hitch would immerse us in the suspicions of the central character, and this worked just as well. In some respects it looks as if Spellbound is an example of the latter. There appear to have been some attempts to create suspense out of the possibility that Gregory Peck's character is a murderer, and there are some typical Hitchcock moments like the business with the razor that play upon this. The trouble is, all those point-of-view shots placing us inside Peck's innocent confusion make it impossible for us to accept him as a killer, not even one who has forgotten his crimes. As such these tense moments, while nicely constructed in themselves, have no impact. The final "twist", when it arrives in the last five minutes seems tacked on, and does not shock or satisfy in any way.

Spellbound is also an example of why we don't see many outstanding acting performances in Hitchcock movies. It's not just because Hitch didn't give any coaching to his cast members (neither did William Wyler, and his pictures are always superbly acted), it's just that his films are too technical to show off the actors to the best of their abilities. Ingrid Bergman was an exceptional actress, but because of the way Hitch works, the key moments in her performance are cut up into fleeting reaction shots, close-ups of hands and so forth. The best impression we get of her acting is in a fairly mundane scene, when she is fending off the unwanted attentions of Wallace Ford, a moment Hitchcock allows to play out in a mid-shot unbroken take. Spellbound does contain one of the few Oscar-nominated performances in a Hitchcock picture – Michael Chekhov as Dr Brulov. He is not bad, although due to the nature of his part he gets the benefit of more conventional shots which capture his best – hence why he got a nod while Ms Bergman didn't.

The one Oscar that Spellbound did win was for the Miklos Rozsa score, although it's inferior to his work on The Lost Weekend, which was also nominated. His music for Spellbound is a little overbearing, and is incredibly heavy in the romantic scenes. It's also very sweepingly sentimental, which jars somewhat with Hitch's rather aggressive styling of these moments. Still, there is some intelligent orchestration, and it is rather effective the way it suddenly breaks into a minor key version of the love theme on the theremin when something triggers Peck's memories.

In spite of all its flaws, Spellbound is still a very watchable picture. The screenplay is by the reliable Ben Hecht, and it moves forward at a solid pace. Hitchcock's to-the-point style of direction may not have been flattering to the cast, but at least it makes the story clear and easy to digest. However, this process of unravelling a mystery does not provide him with opportunities for suspense, or at least not his kind of suspense. Selznick got his "psycho", but this is a mediocre entry for the master.
psychoanalysis as thriller theme
Many of Hitchcock's films include dream elements and deal with the caprices of the human memory. 'Spellbound' approaches these themes from the angle of psychoanalysis which was quite an innovative approach in the American cinema at that time. Although the Freudian logic dominates this story of an amnesic patient (Gregory Peck) disguising himself as the chief of a psychiatric clinic and falling in love with the doctor (Ingrid Bergman) who will do everything to save him when he is accused of murder and to recover his sanity, the charm of the movie relies more in the classic Hitchcock elements and in the famous dream scene designed by Salvador Dali. This is considered one of the weaker films of Hitchcock, but there is a lot to enjoy here, especially the radiant Bergman who is at here best, and even if the relation with Peck is not credible and there are some flat dialogs - the film overall ages well and is worth seeing.
Ingrid Bergman is so damn beautiful .....
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.

Too simplistic.
"Spellbound" is probably one of Hitchcock's most uneven films. It has some brilliant scenes (like the point-of-view shot near the end) that showcase Hitchcock's mastery and imagination, but it also has too many talky sequences and it takes too much time to reach its less-than-satisfying conclusion. Hitchcock relies heavily on psychological theories for his explanations, but I think that those explanations are far too simplistic. The "decoding" of the weird dream sequences is also too literal: every image has a definite and obvious meaning - does that ever happen in YOUR dreams? The low point is, for me, the explanation that the movie provides for the wheel's presence in the dream.
normally love Hitchcock
Dr. Constance Petersen (Ingrid Bergman) is a cold psychoanalyst at the mental hospital Green Manors. The director Dr. Murchison is being forced to retire after a mental breakdown. Dr. Anthony Edwardes (Gregory Peck) is his new replacement but he seems to be suffering from mental disturbances and younger than expected. Constance's icy exterior starts to melt for him but she uncovers that he's an impostor. He claims to have lost his memories.

Psychiatrists are not my favorite character tropes. They usually sit and talk in very static scenes. I like the first act here and it sets up something interesting. Once he turns out to be amnesiac, the movie gets stuck and I'm simply sitting there waiting for him to remember. There is an interesting section with surrealistic dreams from artist Salvador Dalí at 90 minutes. However I don't like all the psychobabble. The hour in the middle could have been cut in half. I'm normally a happy Hitchcock fan but this hit me wrong in a couple of ways.
Hitchcock, Dali and Freud...
...An interesting combination if there ever was one. 'Spellbound' is definitely an intriguing film. While it never quite reaches the great heights it promises, there are many amazing sequences here to enjoy.

The convoluted and tricky storyline concerning psychoanalysis makes the film different, but also proves to be it's downfall (that's a little harsh I suppose, as it is a very good film). The Freudian subtext is hard to grasp if you are completely unfamiliar with Freudian theory,and a lot hinges on whether or not the viewer believes in Freud's teachings. It's original though, and adds an extra element of suspense to the film. This film, made in 1945, came at a time when Freudian theory was very much in vogue (The Seventh Veil and Leave Her To Heaven both being released in the same year). Hitchcock, a leader in film-making, played up the matters of the mind, but this is ultimately a glossy romantic spectacle. It's dark, but not dark enough to be truly chilling. Selznick was the producer after all, so of course it has that studio gloss.

Still, this film contains some of the best visual touches you'll see in a Hitchcock film. Peck's dream sequence was designed by Dali, and the effect is stunning. His character's strange neuroses throughout the film (his freak-out over seeing parallel lines on a train track, fork etc) are filmed beautifully. The 'thawing of Ingrid Bergman' (or so I like to refer to it as) through the discovery of love with Peck's character is conveyed to the audience through the opening of doors as she receives Peck's kiss. It's perhaps one of Hitch's too obvious, unsubtle moments, but it's still a powerful technique regardless.

Ingrid Bergman gives a great performance as the doctor. She shares great chemistry with her colleague-turned-patient (a romance overstepping the boundaries of professionalism?). Peck, in an early role, does very well, but is flat in a couple of scenes. Put it down to inexperience- in a few years time he would be carrying productions bigger than this.

The film maintains it's suspense throughout, is appropriately romantic, and provides a marvellous Bergman performance.

At boundaries of imagination and dream
Spellbound is a fantastic movie and it is very difficult to describe it. When you see the movie you can easily be engulfed in a world where dream and reality melt together. The enthralling music of Rozsa underline very well romance and suspense, particularly when Gregory Peck holds a razor in the bedroom where Ingrid Bergman sleeps. The actors are very excellent, Gregory Peck is wonderful as a man trying to recover his memory and Ingrid Bergman is perfect as cold psychoanalyst.

The camera shots used by Alfred Hitchcock are very astonishing, the dream sequence and the murder of the little boy are breathtaking, at the end of the movie don't miss the fantastic scene with the "hand of the death". For people who enjoy good plot, characters and who like to open widely their imagination watching Spellbound will drive you at boundaries of dream.
First rate suspense thriller
Two primary elements make this movie so enjoyable. First there is the mystery suspense element. Is 'Dr. Edwardes' guilty and can his innocence or his guilt be determined before it is too late? Will Constance and John live fall in love and live happily ever after? I think the leads allow men to fantasize what it would be like to cared for, believed in, and loved by someone like Ingrid Bergman and women to fantasize what it would be like to care for, love and be loved by someone like Gregory Peck. The usual innovative visual style and trademark touches of The Master are replete throughout. The score is also unusually haunting. Another winner from The Master, 9/10. I also want to say that the early scene with Rhonda Fleming (Out of the Past) is not extraneous. Besides giving screentime to Ms. Fleming, we learn more about the credentials of Constance and appreciate the discipline of psychoanalysis.
"Just another manhunt wrapped up in pseudo-psychoanalysis"...
...this is how Alfred Hitchcock himself referred to the film. While it has its flaws, I still found this film very entertaining. The movie starts a little slow but does build up steam, so stick with it.

There is a great cast here. I love both leads - Peck and Bergman. Were there two more beautiful people to play opposite each other? I don't think I can think of a single pair that can compete. The way the cinematography capitalized on their physical beauty by utilizing extreme close-ups was masterful. That is one of my favorite aspects of the film. So beautiful are the images that I could almost watch this with the volume completely turned down.

But that would be a huge mistake because then you would miss the evocative and haunting music score that is almost as much a lead character in the film as Peck or Bergman - and why it won an Oscar, deservedly so. But not only is the music a treat for your ears , but I also love Peck and Bergman's voices. Peck's is so deep and masculine. And Bergman's is so soft and reassuring, with her beautiful accent.

Now, for my few complaints about the film. Peck's fainting spells were a little melodramatic and not at all realistic. They almost became laughable. There is very poorly done ski scene that has horrible rear projection - I'm shocked that Selznick or Hitch signed off on it.

But apart from these few complaints, this is a great mystery/suspense tale that I think was very unique in the way it was told. I know many have commented on the simplistic treatment of psychoanalysis and the nice, tidy conclusions. But I think Hitchcock himself answered this best. When Selznick's technical adviser on the film (his personal psychotherapist) disagreed with Hitch over how therapy works, Hitch responded, "My dear, it's only a movie." Great answer!
My favorite Hitchcock!
In general, I don't like Alfred Hitchcock's movies, and I tend to avoid watching them whenever possible. Spellbound, however, is the exception. It is my favorite Hitchcock movie, with an interesting psychological story, great acting, a beautiful Oscar winning theme from Miklos Rozsa, a strange but interesting dream sequence designed by Salvatore Dali, and a well-paced mystery.

Ingrid Bergman plays a psychologist in a clinic, and while she's very well liked among the staff and her patients, she has no love in her life. She's pursued, but always declines. A new doctor joins the staff, and since it's a very young, very handsome Gregory Peck, Ingrid falls in love. But is he hiding something? Usually, I find Hitchcock's movies slow and boring. Maybe I like Spellbound so much because the always-present psychological mystery actually correlates to the setting of the story. The main characters are psychologists, so it makes sense that they would want to dig deep in the psychosis and analysis of people's problems. Whatever the reason, I really love this story and the way it's played out for the audience. Both leads give heartfelt performances, and one of Ingrid Bergman's lines has become a household phrase in my home. A patient starts having a meltdown in a very public place, and Ingrid says to him, "Pull yourself together!" What a terrible doctor! I just find that line hilarious.
📹 Spellbound full movie english download, Spellbound full movie with english subtitles free download, Spellbound full movie download with english subtitles. 📀