Spellbound

Directed by Hitchcock and a fine example of him extending the boundary of images used to tell a story. I admired Salvador Dali's exhibit at the MoMA, which included the dream sequence in Spellbound.

25: Doors open as John and Constance kiss. The lines on her robe unnerve him. During surgery he pulls off his mask and collapses after talking gibberish. The birth of something new.

45: Constance questions John about his childhood. He has amnesia. She discovers he's a doctor. He reasons that he must have been a patient of a man he's accused of killing. He thinks he must know how he died because he came back with the dead man's identity. Now that I'm aware.

60: Dr. Brulov answers the policemen's questions as Constance and John observe. The police exit and Constance lies to her former colleague and tells him she married John. They ask to spend the night. There's no going back now.

-45: The lines on the bed frighten John. Same music indicates his trauma. Constance yells at John to discovery why the lines matter to him and to remember what happened. John tries but he collapses. Discovery.

-25: Salvador Dali's dream sequence just ended; John sees the snow tracks outside the window and he goes into a daze. Constance tells Dr. Brulov the importance of the lines and then Constance realizes the ski tracks in the snow caused John to go into a state of intense turbulence. Eventually, John is able to talk about what happened in his past and he recovers. Constance later discovers the identity of the real killer. The final turning point.