Spellbound (1945 Film) - Production

Production

Spellbound caused major contention between Alfred Hitchcock and producer David O. Selznick. Hitchcock's contract with Selznick began in March 1939, but only resulted in three films - Rebecca (1940) and The Paradine Case (1947) being the other two (Notorious was sold to RKO in mid-production). Selznick wanted Hitchcock to make a movie based upon Selznick's own positive experience with psychoanalysis. Selznick even brought in his therapist, May Romm M.D., who was credited in the film as a technical adviser. Dr. Romm and Hitchcock clashed frequently.

Further contention was caused by the hiring of surrealist artist Salvador Dalí to conceive certain scenes of mental delusion. Hitchcock himself had very little to do with the actual filming of the dream sequence. Selznick thought that it was not Dalí's fault, for his work was much finer and much better for the purpose than he ever thought it would be, and although much of Dalí's work was used, one dream sequence depicting Bergman turning into a statue of the Roman goddess Diana was cut. Ingrid Bergman is quoted in the Hitchcock biography The Dark Side of Genius (1983) by Donald Spoto that the Dalí sequence ran for almost 20 minutes before it was cut by Selznick. The cut footage apparently no longer exists, although some production stills have survived in the Selznick archives. Eventually Selznick hired William Cameron Menzies, who had worked on Gone with the Wind, to oversee the set designs and to direct the sequence.

The film boasts an orchestral score by Miklós Rózsa notable for its pioneering use of the theremin, performed by Dr. Samuel Hoffmann. Selznick originally wanted Bernard Herrmann but when Herrmann became unavailable, Rózsa was hired, winning the Academy Award for his score. Although Rózsa considered Spellbound to contain some of his best work, he said "Alfred Hitchcock didn't like the music - said it got in the way of his direction. I never saw him since."

Spellbound was filmed in black and white, except for one or two frames of bright red at the conclusion, when a gun is fired into the camera. This red detail was deleted in most 16mm and video formats, but was restored for the film's DVD release and airings on Turner Classic Movies.

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