The classic psychological thriller has two astute masters of their craft working together. But what they wanted wasn't seen on film.
The Big Picture It is a rare instance to see a master of his craft, so in tune with his instruments, working on a canvas to produce a piece of art. However, what's even more remarkable is when two maestros blend their virtuosity together to achieve greater artistic merit. Spellbound is one of those golden moments when the master of suspense Alfred Hitchcock collaborated with one of the leading proponents of surrealism, Salvador Dalí.
How Sigmund Freud Inspired 'Spellbound' According to moral psychologist and philosopher, Constantine Sandis, the idea for the production of Spellbound came from producer, David O. Selznick, who wanted to produce a film about psychoanalysis, based on his positive experience with it. This was in fashion with Hollywood's growing affinity with psychiatry, but the producer had more of a personal reason regarding this endeavor.
Salvador Dalí and the Drama Behind That 'Spellbound' Dream Sequence The picture is a brilliant expression of Hitchcock's signature oeuvre, but the dream sequence that Ballantyne experiences is where the magic of his partnership with Salvador Dalí shines — at least to some extent. Dalí's signature surrealistic flair becomes the main catalyst for Spellbound's third act and is exactly the reason why he wanted the artist for the job.
The filmmaker lamented that it would have been impossible. Moreover, according to Elliot H. King's book Dali, Surrealism and Cinema, the surrealist also wanted to hang 15 grand pianos from the ceiling of a ballroom to replicate a nightmarish sensation. Studio interference, primarily by Selznick and his team, caused this vision to be replaced with miniature pianos and about 40 people of short stature, asking them to use forced perspective.
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