Spellbound 1945

In the serene surroundings of Green Manors mental hospital in Vermont, renowned psychoanalyst Constance Peterson (Ingrid Bergman) stands out as an enigmatic figure, shrouded in an aura of intellectual intensity and emotional reserve. Her peers at the esteemed institution are well-acquainted with her unwavering dedication to her craft, which has earned her a reputation for being impervious to romantic overtures. As the hospital’s director, the venerable Dr. Murchison (Leo G. Carroll), prepares to step down from his position due to an unexpected bout of nervous exhaustion, the board of trustees sees fit to appoint the celebrated young psychiatrist, Dr. Edwardes (Gregory Peck), as his successor. Edwardes, a towering figure in his field, has garnered widespread acclaim for his groundbreaking work on guilt complexes.

As Dr. Edwardes arrives at Green Manors, an undeniable sense of magnetism sparks between him and the brilliant Dr. Peterson. However, their blossoming friendship is soon marred by a series of unsettling events. During a dinner engagement on his first evening at the hospital, Dr. Edwardes experiences a bizarre and uncharacteristic outburst upon witnessing Dr. Peterson’s artistic endeavors – the sketching of a proposed swimming pool on a linen napkin using her fork.

As the days unfold, the bond between Drs. Edwardes and Peterson grows stronger, with their conversations delving into the intricacies of human psychology. One evening, they find themselves embracing in his quarters, confessing their deep affection for each other. Yet, just as the moment seems to be reaching its crescendo, Dr. Edwardes is beset by another inexplicable reaction upon beholding the parallel stripes on Dr. Peterson’s white robe. The sudden interruption is followed by an urgent phone call, alerting them to a crisis: one of the hospital’s patients has become agitated and attempted to harm himself; he is now undergoing surgery.

As they rush to the operating room to offer their support, Dr. Edwardes suffers a severe panic attack, prompting his hasty removal to his own quarters. Under the watchful eye of Dr. Peterson, who has been keeping vigil by his bedside, she discovers that the autograph in a borrowed copy of his book is noticeably different from the signature on a note he had written to her earlier. This revelation sets off alarm bells, as it becomes clear that an imposter has infiltrated their midst – someone posing as the illustrious Dr. Edwardes.

As the shrouds of unconsciousness lift, Dr. Peterson’s bewildered gaze meets the stern countenance of his trusted colleague, Dr. Edwardes (played by actor name). The latter reveals that he has been replaced by a stranger with no recollection of who they are or what they’ve done. The imposter has taken on Edwardes’ identity and is now masquerading as him at Green Manors. The only tangible connection to their forgotten past is the cigarette case bearing the initials “J.B.” Dr. Peterson implores her assistance, citing his complete amnesia and lack of insight into his true nature. She agrees to help unravel the mystery, emphasizing that the police won’t arrive immediately, giving them a narrow window of opportunity.

Under the guise of illness, she advises him to rest while she investigates further. However, in the dead of night, the mysterious stranger pens a poignant letter to Dr. Peterson, expressing his deep affection for her and revealing his plan to flee to the Empire State Hotel in New York. He secretly deposits the note under her door before vanishing into the darkness.

The next morning, the authorities descend upon Green Manors, prompted by a tip from Edwardes’ secretary regarding the stranger’s suspicious phone manner. The staff is shown his photograph, and each member concurs that this individual bears no resemblance to their Dr. Edwardes – the very man who has gone missing. Meanwhile, Dr. Peterson remains unaware of her lover’s true nature, as he continues to masquerade as Edwardes.

As the police depart, Dr. Peterson finds herself alone in her room, where she stumbles upon the letter her mysterious companion had left behind. Though too intimidated to pick it up in front of the others, she can’t help but feel an eerie sense of foreboding. When Dr. Murchison becomes the last to leave, he inadvertently picks up the letter and hands it to Dr. Peterson, who reads its contents after everyone has departed.

The next day, driven by a desire to unravel the tangled threads of her lover’s psyche, Dr. Peterson travels to New York, determined to use her psychoanalytic expertise to cure him of his amnesia and guilt complex. She finally locates her mysterious companion in his hotel room, where he remains convinced that he must have murdered Edwardes, assumed his identity, and fled to Green Manors. Yet, she is resolute in her conviction of his innocence, refusing to let the truth be clouded by the veil of amnesia.

As she observes the faint scar on his left hand, a flicker of recognition dawns on J.B.’s face. The memories of a long-forgotten incident begin to resurface, though the details remain shrouded in mystery. Constance’s curiosity is piqued by an astute medical inquiry, which he answers with precision, revealing a previously unknown facet of his past: he was once a doctor. Meanwhile, their hotel stay is cut short after her name and picture appear in the newspaper, prompting them to make a hasty exit. They retreat to Grand Central Station, where they board a train bound for a destination yet unknown.

As they near the front of the ticket line, Constance instructs J.B. to engage his subconscious mind, allowing him to freely associate when asked about their destination. The first thought that crosses his mind is Rome, but Constance corrects him, revealing that he’s actually referring to Rome, Georgia. Their train tickets secured, they soon realize that a vigilant policeman has taken notice of them and will likely recognize them soon, rendering travel to Georgia impossible. Instead, they opt for a different route, eventually arriving in Rochester, New York, the home of Dr. Alex Brulov (Michael Chekhov), J.B.’s revered mentor, analyst, and teacher.

During their train journey, J.B.’s thoughts drift back to his time in the Army Medical Corps, where he flew over Rome, Italy, only to have his plane shot down. The memory of that fateful event is linked to the burn scar on his hand. Upon arrival at Dr. Brulov’s abode, they find him absent, replaced by two uninvited guests: police officers seeking information about Dr. Edwardes’ disappearance while traveling with a patient in the Cumberland Mountains.

Dr. Brulov eventually arrives, embodying the quintessential old-school Freudian: bespectacled, bearded, and boasting a distinct German accent. His demeanor is unwelcoming towards the policemen, dismissing their inquiry with disdain. “What kind of analyst would attempt to cure psychosis by taking patients ice-skating or bowling?” he queries. After the police depart, Constance reveals her marital status, introducing her husband John Brown (no relation to J.B.). Dr. Brulov’s expression brightens at the news, though his strict adherence to Freudian principles prompts him to remark, “Women make the finest psychoanalysts until they fall in love. Then, they become the best patients.” He invites them to rest in his spare bedroom, bidding them a good night with the promise of analysis over breakfast: “Happy dreams, which we will dissect at dawn.”

As J.B. lies awake in the bedroom, his concerns about Dr. Brulov’s suspicions are palpable. Constance attempts to alleviate his worries by assuring him that Alex is not attuned to social cues, an observation she unfortunately proves incorrect. The white bedspread with its textured parallel lines seems to be a trigger for J.B.’s anxiety attacks, and Dr. Peterson notices the peculiar correlation between the white background and these episodes.

The couple’s sleeping arrangements are dictated by medical ethics and 1945 Hollywood sensibilities, forcing J.B. to occupy the sofa while Constance takes the bed. As he lies awake in the darkness, J.B.’s self-awareness kicks in, and he realizes he desperately needs a shave. He rises from his slumber and heads to the bathroom, where he becomes fixated on the white soap, sink, and bathtub. The familiar ritual of shaving proves no solace, as J.B. is struck by another episode.

Drunk with anxiety, J.B. stumbles downstairs in a trance-like state, still clutching his straight razor. Dr. Brulov, who had awoken in the night to work, notices J.B.’s disheveled appearance and offers him a glass of milk. Sensing something amiss, he surreptitiously adds a large dose of sedative to the milk.

The following morning, Dr. Peterson descends to find J.B. slumbering on the sofa. She is met with an atmosphere of tension as Alex and Constance engage in a heated exchange. Dr. Brulov reveals that he suspects J.B. might be hiding something, citing his unusual behavior and the suspicious lack of personal belongings on their honeymoon. He threatens to notify the authorities, but Dr. Peterson’s conviction in J.B.’s innocence eventually persuades him to help her uncover the root cause of his anxiety and delay calling the police for a few days.

As Dr. Brulov (character name) skillfully probes the psyche of J.B., a hazy veil lifts, revealing the labyrinthine corridors of his subconscious. The dream sequence, masterfully crafted by Salvador Dali, unfurls like a tapestry of surrealism and psychological insight. In this fantastical realm, J.B. finds himself in a mysterious casino, surrounded by drapes adorned with eyes that seem to watch him with an unblinking gaze. Patrons around him possess faces as blank as freshly fallen snow, while the dealer, a bearded figure, hands over the seven of clubs with a knowing smirk.

But this is no ordinary game; the opponent’s cards are a jigsaw puzzle of emptiness, and the proprietor’s accusatory tone hangs in the air like a challenge. As J.B.’s eyes dart about, he becomes increasingly entangled in a web of intrigue. The scene shifts abruptly, transporting him to a precarious precipice where his words of warning fall on deaf ears. The man with the beard succumbs to gravity, plummeting into the unknown.

The proprietor reappears, wheel in hand, dropping it like a gauntlet thrown down the rabbit hole. J.B.’s journey continues, this time accompanied by the majestic silhouette of a winged creature soaring overhead as he hurtles down a snowy slope. The threads of reality begin to unravel, and Drs. Brulov and Peterson are left to decipher the cryptic messages hidden within J.B.’s reveries.

As they examine the window’s frozen landscape, where children leave parallel tracks in their wake, the puzzle pieces start to fall into place. It becomes clear that J.B.’s phobia has its roots in a long-forgotten incident from his childhood ski trip with Dr. Edwardes. The elusive clue of “angel wings” serves as a beacon, guiding them towards Gabriel Valley, where the secrets of the past await their discovery. Constance’s persistence eventually wears down J.B.’s defenses, and he begins to unravel the tangled threads of his trauma, paving the way for a journey into the very heart of his own psyche.

As J.B.’s apprehension intensifies, he and Constance (Constance) venture onto the snowy slopes, where a treacherous precipice looms at the bottom of the hill. With his memories rekindled, J.B. recalls a fateful incident from his childhood, where an accidental slip on an outdoor banister led to the fatal impalement of his brother. This haunting recollection serves as a precursor to his desperate attempt to stop himself and Constance from plummeting over the edge, proclaiming, “I didn’t kill my brother. It was an accident.”

As John Ballantyne’s (J.B.) memories continue to resurface, he is struck by the realization that his name holds significance. A medical student at Columbia University, J.B. had been injured in the war and subsequently discharged with nervous shock treatment from Dr. Edwardes. The ski trip that claimed Dr. Edwardes’ life was not an isolated incident; their prior lunch at a New York club served as a poignant reminder of the doctor’s presence.

However, the authorities are hot on their trail, following them to Gabriel Valley where they discover the body of Dr. Edwardes, his lifeless form bearing a bullet wound. J.B.’s world crumbles as he is taken away, tried, and imprisoned for murder, an injustice that will have far-reaching consequences.

Meanwhile, Dr. Peterson is left to grapple with her loss at Green Manors, where she is visited by Dr. Brulov, who offers his condolences. However, when Dr. Murchison returns as the institution’s head, he inadvertently reveals a crucial detail: his acquaintance with Dr. Edwardes. The weight of this revelation crashes down on Dr. Peterson, prompting her to confront Dr. Murchison about the implications.

In a moment of clarity, she delves into John Ballantyne’s dream, where the casino symbolizes both Green Manors and the Twenty-One Club in New York, where he had lunch with Dr. Edwardes. The eyes on the walls represent the staff at Green Manors, while the card suit and number 21 serve as a reminder of their gathering at the restaurant. The bearded man playing cards with J.B., Dr. Edwardes himself, and the menacing figure threatening him are revealed to be none other than Dr. Murchison.

The devastating symbol that seals John’s fate is the “wheel” he holds – a revolver – which was used by Dr. Murchison to conceal behind a tree, take aim at Dr. Edwardes, and drop the gun. With the authorities now aware of Dr. Murchison’s involvement, they will be able to trace his movements from Gabriel Valley to the Twenty-One Club, ultimately uncovering the gun with his fingerprints, exposing the truth behind Dr. Edwardes’ murder.

As Dr. Murchison’s true intentions unfold, he stunningly announces that the sought-after firearm won’t be located where they’ve been searching, but rather in his own desk drawer. With calculated deliberation, he produces the weapon, its menacing presence hanging heavy in the air as he issues a chilling threat against Dr. Peterson (her name left unspoken). Her movements are deliberately slow and measured as she inches away from the danger zone, her very existence hanging precariously in the balance. The momentary reprieve is short-lived, however, as Murchison’s resolve falters, and he turns the gun on himself, the blast of violence erupting in a burst of vivid red - a stark contrast to the monochrome palette that has thus far dominated the narrative.

Meanwhile, a sense of hope and new beginnings is palpable as Constance and John prepare to embark on their honeymoon, their faces aglow with anticipation. As they board the train, they are serenaded by the well-wishes of Alex Brulov (his name etched in memory), his words imbuing the scene with a sense of optimism and possibility.