Call#: Van Pelt Library PN1998.3.H58 P66 2004
One such artist was Savador Dali. Also, Pomerance points out that Hitchcock drew attention to the fact that certain aspects of his film such as the heterosexual romance or the neat, tidy ending, were concessions to a repressive studio system and perhaps, by extension, a repressive society by having that romance seem forced or by suddenly shifting the tone of the film.
Contention was caused by the hiring of surrealist artist Salvador Dalí to conceive certain scenes of mental delusion of Ballentine in Spellbound. Selznick hated Dalí's ideas, and although much of his work was used, one dream sequence depicting Bergman turning into a statue of the Roman goddess Diana was cut. Dali's work is clearly seen in the depiction of the dream of the amnesiac. The dream consisted of a gambling house with no walls, instead had curtains with eyes painted all over them, there was a man with a pair of scissors cutting all the drapes in half, a girl who hardly had anything on who went around kissing everyone, Ballentine dealt a seven of clubs to a man with a mask, proprietor accuses the man with mask cheating, then the dream is sifted to a sloping roof of a high building, the man with a mask is hiding behind the chimney with a wheel, he drops the wheel on the roof, suddenly Ballentine is running and he sees shadows chasing him and a winged figure following him. Each and everyone one of the elements of this dream symbolizes how the murder of Edwardes took place through random association in Ballentine's subconscious, which came out in the dream. Dali did this beautifully. For example, Ballentine said the kissing girl reminded him of Constance- what Freudian would call wishful thinking. The man with the mask is the murderer, Dr. Muchinson ,the old head of the asylum, and the wheel he was holding symbolizes a revolver, and thus he drops the gun on the cliff after shooting Edwardes.
tagged analysis_of_spellbound hitchcock by hina ...and 1 other person ...on 04-DEC-08