Amy and I finally watched Hitchcock's Spellbound the other night after Netflix delivered it, like, a month ago. Thank goodness for no late fees!
I'm not that crazy about a lot of Hitchcock, and I have to say that this was not a favorite (despite a really cool dream sequence designed by Salvidore Dalí). Ingrid Bergman is an icy psychiatrist working at a mental hospital. Gregory Peck plays the new hospital director, Anthony Edwardes. Or is he who he says he is? As usual, with Hitchcock, the "mystery" is merely a pretext for some psychological exploration. It's pretty quickly, and unceremoniously, revealed that Edwardes is not Edwardes but an amnesiac who thinks he killed Edwardes but can't remember. Bergman, however, falls in love with him and cannot believe he's a murderer, so she sets about trying to help him recover his memory and figure out what really happened. The pop-psychoanalysis is pretty hokey, as are the overly-earnest performances (except Michael Chekhov as Dr. Brulov, who is wonderful).
But Hitchcock's films always get me to thinking about film in general. Hitchcock is loved by us Film Studies types precisely because his films are often more about the process of filmmaking and film-watching than about whatever the plot is. Since much of Film Studies is [rather ludicrously] derived from [mis-readings of] psychoanalysis, I can see how this film in particular must have gotten my former colleagues all hot and excited.
What was interesting to me, however, was to think about how the the film, if it were made today, would suffer from a narrative problem due to modern technology. This is a line of thought I had just started to pursue when I was still in my MA program, but never really got an opportunity to explore in depth.