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IMDbPro

Quando Fala o Coração

Título original: Spellbound
  • 1945
  • Approved
  • 1 h 51 min
AVALIAÇÃO DA IMDb
7,5/10
55 mil
SUA AVALIAÇÃO
Ingrid Bergman and Gregory Peck in Quando Fala o Coração (1945)
Assistir a Official Trailer
Reproduzir trailer2:06
1 vídeo
99+ fotos
Film NoirPsychological DramaPsychological ThrillerDramaMysteryRomanceThriller

Um psiquiatra protege a identidade de um paciente com amnésia acusado de assassinato enquanto tenta recuperar sua memória.Um psiquiatra protege a identidade de um paciente com amnésia acusado de assassinato enquanto tenta recuperar sua memória.Um psiquiatra protege a identidade de um paciente com amnésia acusado de assassinato enquanto tenta recuperar sua memória.

  • Direção
    • Alfred Hitchcock
  • Roteiristas
    • Ben Hecht
    • John Palmer
    • Hilary St George Saunders
  • Artistas
    • Ingrid Bergman
    • Gregory Peck
    • Michael Chekhov
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,5/10
    55 mil
    SUA AVALIAÇÃO
    • Direção
      • Alfred Hitchcock
    • Roteiristas
      • Ben Hecht
      • John Palmer
      • Hilary St George Saunders
    • Artistas
      • Ingrid Bergman
      • Gregory Peck
      • Michael Chekhov
    • 229Avaliações de usuários
    • 113Avaliações da crítica
    • 78Metascore
  • Veja as informações de produção no IMDbPro
    • Ganhou 1 Oscar
      • 8 vitórias e 7 indicações no total

    Vídeos1

    Official Trailer
    Trailer 2:06
    Official Trailer

    Fotos150

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    Elenco principal32

    Editar
    Ingrid Bergman
    Ingrid Bergman
    • Dr. Constance Petersen
    Gregory Peck
    Gregory Peck
    • John Ballantyne
    Michael Chekhov
    Michael Chekhov
    • Dr. Alexander Brulov
    Leo G. Carroll
    Leo G. Carroll
    • Dr. Murchison
    Rhonda Fleming
    Rhonda Fleming
    • Mary Carmichael
    John Emery
    John Emery
    • Dr. Fleurot
    Norman Lloyd
    Norman Lloyd
    • Mr. Garmes
    Bill Goodwin
    Bill Goodwin
    • House Detective
    Steven Geray
    Steven Geray
    • Dr. Graff
    Donald Curtis
    Donald Curtis
    • Harry
    Wallace Ford
    Wallace Ford
    • Stranger in Hotel Lobby
    Art Baker
    Art Baker
    • Det. Lt. Cooley
    Regis Toomey
    Regis Toomey
    • Det. Sgt. Gillespie
    Paul Harvey
    Paul Harvey
    • Dr. Hanish
    Jean Acker
    Jean Acker
    • Matron
    • (não creditado)
    Irving Bacon
    Irving Bacon
    • Railway Gateman
    • (não creditado)
    Richard Bartell
    • Ticket Taker
    • (não creditado)
    Harry Brown
    Harry Brown
    • Gateman
    • (não creditado)
    • Direção
      • Alfred Hitchcock
    • Roteiristas
      • Ben Hecht
      • John Palmer
      • Hilary St George Saunders
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários229

    7,554.7K
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    Resumo

    Reviewers say 'Spellbound' is a captivating blend of romance, mystery, and psychological intrigue, showcasing Alfred Hitchcock's signature style. The innovative dream sequences by Salvador Dali are praised for their surreal dimension. Ingrid Bergman and Gregory Peck deliver acclaimed performances, with Bergman as a dedicated psychoanalyst and Peck as an amnesiac suspect. The suspenseful plot, involving a murder mystery and mind exploration, is noted for its twists. However, some find the pacing slow and dialogue melodramatic. The haunting musical score by Miklós Rózsa is celebrated. Despite mixed opinions, 'Spellbound' is regarded as a noteworthy Hitchcock film.
    Gerado por IA a partir do texto das avaliações de usuários

    Avaliações em destaque

    8TheLittleSongbird

    Very good- the music certainly is outstanding!

    I watched Spellbound for the first time this morning, and overall I was very impressed. While Spellbound is far from his best film, it is in general very well done, and I would definitely watch it again for a number of reasons. Hitchcock's direction is noteworthy, maybe not as tight as it usually is, but still noteworthy. The film is shot with breathtaking black and white cinematography, particularly the scene in the countryside, in fact the only scene where it didn't quite work was in the skiing scene, it looked rushed and a tad too amateurish. On a more positive note, the music score by Miklos Rosza was absolutely outstanding; it is without a doubt one of the best film scores I have ever heard, and in my opinion one of the more memorable scores in any Hitchcock film. From the beautiful sweeping title theme, to some truly haunting parts in especially the scene with the sleepwalking. The final solution is exceedingly clever and unpredictable, and the dream sequence by Salvador Dali while short was essential to the plot and very effective. Speaking of the plot, mixed with psychological nuances and a young doctor's struggles to help her patient/ lover and prove his innocence, has its usual twists and turns and is pretty suspenseful. I will admit some of it is implausible, and the script may just lack the sophistication of the scripts of Hitchcocks like Vertigo or Rebecca, but on the whole it was cleverly crafted. The performances are in general very good; Gregory Peck is disappointingly one-note, but as the beautiful but cold Constance Peterson Sweedish beauty Ingrid Bergman is a revelation. The standout supporting turns come from Michael Chekov as Alex and Leo G. Carroll as Murchison, both add a lot to the film and do very well, and Hitchcock himself makes a cameo. All in all, has its flaws, and is definitely not Hitchcock's best, but I do recommend it. And I do think that along with StageFright it is one of the more undervalued Hitchcock movies. 8/10 Bethany Cox
    Infofreak

    Wonderful mystery/romance from the master of suspense!

    While I wouldn't include 'Spellbound' in my top five favourite Alfred Hitchcock movies it's still wonderfully entertaining. Of course it had dated badly in some ways, but not enough to spoil a modern viewer's enjoyment. Psychoanalysis was still quite a cinematic novelty at the time, but this means that we have to put up with an awkward opening sequence, complete with "explanations" on the screen, and a few pretty hokey moments throughout, but hey, I can live with that, and the amateurish filmed skiing scene. These few flaws, quite a rarity for Hitchcock, are still small potatoes. The legendary Salvador Dali designed dream sequence allegedly used very little of the great surrealists outlandish ideas, but even so it's striking and memorable. I also really enjoyed the inventive score by Miklos Rozsa, which utilized the eerie sound of the theremin, later used in the science fiction classic 'The Day The Earth Stood Still', and The Beach Boys psychedelic pop masterpiece 'Good Vibrations'. Now the best thing about 'Spellbound' and what really makes it into a wonderfully entertaining mystery/romance is Ingrid Bergman and Gregory Peck. These two Golden Age superstars are both absolutely wonderful individually, but together they are magical, and one of THE great romantic couples in movie history. 'Spellbound' may not be Hitchcock's very best work, but I still highly recommended it. I can't see how anyone could not enjoy it.
    CinemaClown

    A Spellbinding Experience.

    One of the first films in Hollywood to deal with the subject of psychoanalysis, Alfred Hitchcock's Spellbound is an expertly crafted psychological thriller that works equally well as a brain teaser for its viewers. It tells the story of a psychiatrist who protects the identity of an amnesia patient, disguised as the new head of a mental asylum, and covers her attempts to recover his memory.

    Cleverly directed by Alfred Hitchcock, the film is full of twists & turns throughout its runtime and repeatedly plays a dream sequence that toys with viewers' mind like a strong puzzle asking to be solved. Cinematography is a stunning work of film-noir, editing keeps the tension alive from start to finish & thanks to its terrific use of music, it manages to keep the viewers at the age of their seats for the majority of its runtime.

    And also worth mentioning are its brilliant performances from Gregory Peck, Michael Chekov & the immensely beautiful Ingrid Bergman amongst whom Bergman impressed me the most for I was completely in awe of her. On an overall scale, Spellbound is a spellbinding tale by the master of suspense that never lets out the entertainment factor for its viewers & keeps them invested in its story with a sense of self-generated curiosity. Highly recommended.
    6MCMoricz

    Visually stylish but hopelessly silly oddity

    I recently saw this film on the large screen after having not seen it for over 10 years. My memories of it were not that fond -- I recalled it as an unusually melodramatic and not very convincing thriller enlivened by a very attractive cast.

    What I had forgotten about was how almost impossibly silly all the psychoanalytical claptrap is, especially in the first couple of reels, which thereby make us feel very quickly that we're not quite in the mature, masterful grip of Hitch's usual wit and taste. Yes, I know this was made in the 40's, but the first 20 to 30 minutes of the film have more sexist moments and infantile behavior by supposed doctors than one would ever expect from either Hitch or Ben Hecht.

    So who's to blame? One guess -- David O. Selznick! That being said (along with the fact that the story doesn't really add up to much of anything, since all the premises on which it's based seem so shaky, naive and downright goofy), the film has some things going for it. About midway through the picture, when Michael Chekhov appears as Dr. Brulov, the film suddenly kicks into what we might call "classic British Hitch mode," with the kind of understated wit and ensemble playing the director had been doing so well since the early 30's. It almost becomes another (and far more palatable) film at this point. The scenes with Bergman, Peck and Chekhov are the highlight of the film, and I have to admit that I'm even kind of fond of the hotel lobby scene, with the appealingly breezy Bill Goodwin (of "Burns and Allen" radio fame) as the house detective. Peck has never been more handsome, in a strangely fragile way.

    Also worth a look are the brief but truly unusual Dali-designed dream sequences. There is something to be said for Miklos Rozsa's score as well: although it edges a bit far into soupy overscoring, the expressive main theme has quality, and his use of the theremin (which he also employed in his score for THE LOST WEEKEND at virtually the same time) is striking and represented "something new" in film music.

    One could easily make excuses for this film based on "it was only 1945" or "what people knew about psychoanalysis was still naive", etc., but even taken in context of its time it's a pretty silly film without the kind of sustained surety of style leavened with simultaneous suspense, intelligence, taste and humor that he had already proved he could do so well from more than ten years earlier. Given a standard he had already given us with examples from THE 39 STEPS or YOUNG AND INNOCENT through THE LADY VANISHES in the UK, or FOREIGN CORRESPONDENT and SHADOW OF A DOUBT here in the US, this film seems not up to his true capacities, and like his other Selznick-produced American film, REBECCA, seems both overfussy and filled with emphases and spoonfeeding of details which Hitch himself would never have given us.

    You need only compare this film with his very next one, NOTORIOUS, to be painfully aware how much better Hitchcock on his own -- using his own standards of pace, momentum and the ADULT treatment of script themes -- could be when not under the thumb of Selznick. Thank God he didn't have to work for him any more after this.
    8Xstal

    Entrance, Enchant, Bewitch...

    You've fallen for a man who's an impostor, although his memories of before he cannot foster, a psychologist by trade, you're intent to move the shade, and prevent John Ballantyne from getting loster. He disappears, you track him down and run away, to your mentor's house you find a place to stay, as together you decrypt, in abstract dreams you find transcript, then make your way to mountains where folk ski and sleigh. It soon transpires that there's skulduggery at work, you're new loves actions, can't possibly be shirked, a slippery slope is more inclined, riven with twisting, turning lines, a casual comment fills with light, removes the dark.

    Ingrid Bergman and Gregory Peck enchant throughout.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Sir Alfred Hitchcock was disappointed with the limits of Gregory Peck's facial expressions. According to Peck, "I couldn't produce the facial expressions that Hitch wanted turned on. I didn't have that facility. He already had a preconception of what the expression ought to be on your face, he planned that as carefully as the camera angles. Hitchcock was an outside fellow, and I had the Stanislavski training from the Neighborhood Playhouse, which means you work from the inside."
    • Erros de gravação
      The burn on J.B.'s hand is only visible when Petersen notices it. It disappears in every other scene where his hand is visible (like when he is sitting on the couch with Dr. Brulov).
    • Citações

      Dr. Alex Brulov: Women make the best psychoanalysts until they fall in love. After that they make the best patients.

    • Cenas durante ou pós-créditos
      Opening credits: THE FAULT . . . . . IS NOT IN OUR STARS, BUT IN OURSELVES . . . . . - SHAKESPEARE

      Our story deals with psychoanalysis, the method by which modern science treats the emotional problems of the sane.

      The analyst seeks only to induce the patient to talk about his hidden problems, to open the locked doors of his mind.

      Once the complexes that have been disturbing the patient are uncovered and interpreted, the illness and confusion disappear.....and the devils of unreason are driven from the human soul.
    • Versões alternativas
      The original theatrical version had an Overture and Exit Music by Miklós Rózsa, to a total running time of 118m09s. It was suppressed from distribution until the 1999 restoration based on the negatives of Selznick library (that came to be owned by Walt Disney Company via ABC-TV) and two DVD editions.
    • Conexões
      Edited into The Clock (2010)

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    Perguntas frequentes30

    • How long is Spellbound?Fornecido pela Alexa
    • What is 'Spellbound' about?
    • Is "Spellbound" based on a book?
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    Detalhes

    Editar
    • Data de lançamento
      • 28 de dezembro de 1945 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • Cuéntame tu vida
    • Locações de filme
      • Penn Station, Manhattan, Nova Iorque, Nova Iorque, EUA(establishing shot of the first train station)
    • Empresas de produção
      • Selznick International Pictures
      • Vanguard Films
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 1.696.377 (estimativa)
    • Faturamento bruto mundial
      • US$ 19.288
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 51 minutos
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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