The 1945 Best Picture nominee, Spellbound, tells the story of Dr. Constance Petersen (Ingrid Bergman), a psychoanalyst at a mental hospital in my least favorite state, Vermont.

Constance has fallen in love with a man (Gregory Peck) who she believes to be Dr. Anthony Edwardes, the newly appointed director of the hospital.  Dr. Edwardes is youngish and handsome and idealistic and authoritative …. well, he’s Gregory Peck.  However, he also has an intense phobia about seeing any set of parallel lines.  Curious to discover the reason for Edwardes’s phobia, Constance does a little digging on her own and discovers that Dr. Anthony Edwardes is not a doctor at all!  Instead, he’s a guilt-stricken amnesiac who is convinced that he murdered Dr. Edwardes and took his place!

Constance, however, doesn’t believe that the Amnesiac is a murderer.  She thinks that he is suffering from some sort of deep-rooted guilt that had led him to believe that killed the doctor.  She wants a chance to psychoanalyze him and discover the truth about his background.  Unfortunately, the police do think that the Amnesiac is a murderer and their determined to arrest him.

Constance and the Amnesiac go on the run, heading to the home of Constance’s mentor, Dr. Alexander Brulov (Michael Chekhov, the nephew of Anton Chekhov).  With Brulov’s help, Constance analyzes a dream that the Amensiac had, one involving curtains decorated with eyes, the faceless proprietor of a casino, and a man falling off a mountain.  Can Constance and Brulov solve the mystery of the Amnesiac’s identity before the police take him away to prison?

Spellbound was the last of the four Hitchcock best picture nominees and it was also the last film that Hitchcock made for producer David O. Selznick.  Selznick was quite a fan of psychoanalysis and he insisted that Hitchcock not only make a movie about it but that he also use Selznick’s own therapist as a technical advisor on the project.  Hitchcock, for his part, was able to bring in the surrealist Salvador Dali to help design the Amnesiac’s dream sequence but Selznick felt that the 20-minute sequence was too long and too weird and, as a result, it was cut down to two minutes for the final film.  All this considered, it’s not a surprise that, despite the fact that Spellbound was a hit with critics and audiences, Hitchcock himself didn’t care much for it and considered it to be more of a Selznick film than a Hitchcock film.  And it is true that the film’s total faith is psychoanalysis feels more like something one would expect to hear from a trendy producer than from a director like Hitchcock, who was known for both his dark wit and his rather cynical attitude towards anyone in authority.

For a film like Spellbound to truly work, there has to be some doubt about who the Amnesiac is.  For the suspense to work, the audience has to feel that there’s at least a chance, even if it’s only a slight one, that the Amnesiac actually could be a murderer, despite the attempts of Constance and Brulov to prove that he’s not.  And Spellbound is full of scenes that are meant to leave the audience wondering about whether or not the Amnesiac should be trusted.  However, because the Amnesiac is played by Gregory Peck, there’s really no doubt that he’s innocent.  Hitchcock was not particularly happy with Gregory Peck as his leading man.  Peck projected a solid, middle-American integrity.  It made him ideal for heroic and crusading roles but made him totally wrong for any role that required ambiguity.  It’s difficult to believe that the Amnesiac is suffering from a guilt complex because it’s difficult to believe that Gregory Peck has ever done anything for which he should feel guilty.  Cary Grant could have played the Amnesiac.  Post-war Jimmy Stewart could have done an excellent job with the role.  But Peck is just too upstanding and stolid for the role.  In a role that calls from neurosis, Peck is kind of boring.

That said, the rest of the cast is fine, with Ingrid Bergman giving one of her best performance as Constance and Michael Chekhov bringing some needed nuance to a role that could have turned into a cliché.  Leo G. Carroll has a small but pivotal role and he does a good job keeping the audience guessing as to his motivation.  Even at a truncated two minutes, the Dali dream sequence is memorably bizarre and the famous shot of a gun pointed straight at the camera still carries a kick.  This is a lesser Hitchcock film but, that said, it’s still a Hitchcock film and therefore worth viewing.

As I mentioned previously, this was the last of Hitchcock’s films to be nominated for Best Picture.  Ironically, his best films — Rear Window, Vertigo, and Psycho among them — were yet to come. Spellbound was nominated for six Oscars but only won for Miklos Rozsa’s score.  (Ingrid Bergman was nominated for Best Actress that year, not for her role in Spellbound but instead for The Bells of St. Mary’s.)  The big Oscar winner that year was Billy Wilder’s The Lost Weekend.