Alfred Hitchcock's 1945 film, Spellbound, has been described by Abel (2002) as an example of the influence exerted on Hitchcock by expressionism. Expressionism is defined by Giannetti and Eyman (2001) as a style of filmmaking that distorts time and space as ordinarily perceived in reality. Such a film places emphasis on the essential characterization of objects and people rather than on their superficial appearance. As is typical of this genre, Spellbound employs fragmentary editing, extreme angles and lighting effects, and the use of distorting lenses and special effects. Abel (2002) stated that Spellbound employs a dream sequence and its twisted history to establish what is ultimately a surreal environment.
Hitchcock, says Abel (2002), tended to dismiss this film as little more than "pseudo-psychoanalysis" despite its wide audience appeal and positive critical reception. Filmed in black-and-white, the lighting effects are particularly vivid some fifty-odd years after the film was created. Working with Salvador Dali, Hitchcock employed special effects and props(e.g., a giant pair of scissors, miniature pianos hanging
From the ceiling to gain perspective) to create a distorted image that added to the suspense of the film and the atmosphere of unreality that pervades it.
The film focuses on psychoanalysis and weaves into its narrative an emerging love story between a repressed analyst played by Ingrid Bergman and a potentially psychotic amnesiac played by Gregory Peck. Suspense enters into the relationship between the analyst and patient in that the former is uncertain as to the veracity of her patient's memories and dreams; further, she is at times threatened by his potential for violence. Pecks' character, Dr. Edwardes, experiences a disturbing personality change whenever he sees parallel lines such as inverted fork-markings on a tablecloth. His analyst, Dr. Peterson, discovers that this supposed expert on personal...