good back-story, and good acting

Simple and well acted, it has tension enough to knot the stomach.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

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.

In this go-round, Alfred Hitchcock plays psychologist, as the themes/actions of the film revolve around a mental institution and a case of mistaken identity/amnesia.For a basic plot summary, "Spellbound" tells the story of Constance Petersen (Ingrid Bergman) and her new boss at the institution, played by Gregory Peck. Thrust together in a perplexing situation, the newly infatuated pair must piece together the mystery confound them. Saying anything more would severely spoil the twists and turns.As is usually the case with Hitch, this is a very solid, entertaining film. It's a bit slow (at least by today's standards) in the early goings, but the overall plot is engaging enough to keep you from tuning out early.The visuals, as also per Hitch, are up to the usual standard. A few scenes stand out as spectacular, while the entire film is generally visually impressive throughout. It was probably revolutionary for its time and still stands up well today.The acting is solid too, with Peck & Bergman doing what they do best and surrounded by an accomplished supporting cast.Thus, while perhaps not on the same level as "Vertigo" or "Psycho", "Spellbound" is just a notch or two below. It is entertaining, engaging, will make you think, and keep you guessing until the credits roll.

Ingrid is spectacularly spellbinding, indeed: although it's supposed to be Gregory that's under the spell; and he is, but rather, again of Ingrid's dazzling radiant beauty that Hitchcock has fawned over in his camera direction - although as for Greg, portraying a guy who's got amnesia, but smitten by Dr. Constance, he's merely as wooden as furniture they caress around!As for the era's constant oh so overt sexist putdowns of her in this profession - seen from today it becomes amusing as though deliberately done to poke fun at the patriarchal world of that time: just listen to some of the hokey, if not female insulting, dialogue (= thanks one by Ben Hecht - see the quotes sidebar), yet likely exactly the sentiments for women in such professions in that closing world war period (check out the old - OLD! - out and out creep that hits on Ingrid in the hotel foyer: yeuch! Is that satire? Or actually how life really was for women, then?! Remember, Hitch had a reputation to creep out / harangue his young starlets.)In the film, are of course, some reputable cinematic 'tricks' to keep an eye out for: no plot spoiling here, other than to mention 'Dali' and also 'colour', as they should stand out as you watch: but back projection wasn't one of them, so the interminably long ski down hill makes you wonder that if they are shown as having HIKED up the perilous mountain side (no ski lift in sight), just how long must that have taken them, for such a lengthy ski down…?!Overall, gorgeous (count how many times Ingrid is presumably directed to fiddle with her hair - she's a woman, see?), but at many twists and turns, unintentionally hilarious. But psychoanalysis, interpret the dream, was serious, then y'know. So, enjoy one of Hitch's - and Ingrid's - best.

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.