Alfred Hitchcock’s Spellbound commits the cardinal artistic sin of trying so hard to tell us something important that it tells us nothing insightful or interesting. It puzzles me why a director who generally understood better than any other the power of the camera to show rather than tell would want to pontificate about the use of psychoanalysis to investigate repressed memories as if he were delivering a thesis at a symposium of mental-health professionals. The film constitutes little more than dime-store Freudian pedantry.
Although perhaps not as well-remembered as Rear Window, Vertigo, North by Northwest, or Psycho, Alfred Hitchcock’s Notorious is one of his most brilliant films, presaging the director’s immediately recognizable visual style that would flourish in the 1950s. Interestingly, it is also one of the earlier films in which Hitch employs a romance as bait to lure audiences in with his characteristic irony.