Bewitched

A woman on death row is discovered to have a split personality in "Bewitched," a 1945 film starring Phyllis Thaxter, Edmund Gwenn, and Stephen McNally. Thaxter is a young, soon to be wed woman who has blackouts, walks around at night, and hears voices. She runs away from her parents' home and her husband to be and goes to New York, gets a job, and meets an attorney (McNally) who falls for her. Her fiancé finds her, and, under orders from her other personality (voiced by Audrey Totter), she kills him.

Now we're brought back to death row where Edmund Gwenn suspects her problem and wants to hypnotize her.

Boring film with a good cast nonetheless, psychiatric disorders being a fashionable subject during and after World War II. What made Three Faces of Eve interesting was that the main character was a woman with a dull affect, but her personalities had lots of spark. Just hearing the voice of Totter here isn't enough. If Thaxter had actually been taken over by her alternate personality and, say, lived as her in New York, the film would have been a lot more interesting.

Not very good.

Or, if you prefer, Mrs. Jekyll & Hyde without the serum. Many offbeat, inventive touches in this eerie, unusual (for its time) paranormal thriller (including what must be the only close-up of new paper being inserted into a typewriter I've ever seen in a movie) ; not entirely successful (for one thing, we don't see enough of the "wild" Karen), but a most worthy effort. **1/2 out of 4.

Bewitched is written and directed by Arch Oboler. It stars Phyllis Thaxter, Edmund Gwenn, Henry H. Daniels, Addison Richards, Horace McNally and Kathleen Lockhart. Music is by Bronislau Kaper and cinematography by Charles Salerno Jr.

One of the most interesting of splinters to come out of film noir was that which dealt with psychoanalysis. Be it mentally scarred war veterans, amnesia sufferers with locked in repression, or a victim being pushed to the mental abyss by an outside force, the state of mind factor was ripe for any sort of film noir sheen.

What was under represented were films that dealt with mental illness' like schizophrenia or multiple (split) personalities. History tells us that Hollywood took a long time to get to grips with such topics, very much resorting to guesswork (and sometimes laughable) solutions to mental health issues just to close out the movies with a happy outcome.

It would take until 1957 and Three Faces of Eve (and to a lesser extent Hugo Haas' Lizzie released the same year) for the personality disorder issue to break out of Hollywood and into the public conscious. But even then with "Eve", if you take out Joanne Woodward's spell binding performance you are left with some mumbo-jumbo and a daft resolution to the curing of the patient.

So where does this leave Bewitched in 1945? Transferred from radio to the big screen by Oboler, from his own story titled Alter Ego, Bewitched suffers from the same simplified problems of so many like minded sub-genre movies, in that the resolution ("cure") is just so hard to get on board with. However...

If allowing the film some grace for the time it was made, then there's a very good picture here. Clocking in at just over an hour, it certainly feels and plays like one of those extended episodes of The Twilight Zone from Season 4, but the atmospherics and lead performances of cast members ensure this is fascinating and suspenseful entertainment.

Plot essentially sees Thaxter as troubled Joan Alris Ellis, who after starting to hear a sinister voice in her head (voiced by noir darling Audrey Totter), flees to New York to start afresh, leaving behind family and her intended husband to be. After becoming involved in a warm relationship with Eric Russell (McNally), Joan finds that the voice, her alter ego, is not going to go away and urges Joan to commit murder.

Pic unfolds in a flashback structure, Joan is awaiting execution and we learn how she came to be in this situation. Oboler and Salerno film the piece through a film noir prism, ensuring that a disquiet mood is prevalent throughout. As the lens' mist up and shadows fall (99% of film is set in darkness or daylight as darkness), the visuals marry up nicely with poor Joan's befuddlement.

Oboler is guilty of letting the piece meander at times, as it often becomes over talky (the radio origins practically scream from the speakers!), but he has a very sharp eye for an evocative scene, and he's also capable of telling tech flourishes. Joan running down a street lit by bulbous lamps is straight out of noirville, distorted angles come and go, and clocks feature prominently, like Old Nick is right there counting down the seconds on every clock face.

Then it's that resolution. Simplified for sure, but not without eeriness personified as Joan's femme fatale alter ego arrives on the scene in a clear case of angel and demon perched on either side of the hapless patient. With Thaxter excelling with her haunted portrayal, Gwenn exuding assurance unbound, and Kaper (Gaslight) drifting a creeping menace like musical score over the proceedings, the impact garnered belies the "B" budget afforded the play. 7.5/10

Average yet enteraining story about a young girl being plagued with a voice inside telling her what to do. The girl breaks down and listens to the voice, moving across country leaving her family and fiancée behind to make a new start. The film then has a new man come into the girl's life when old wounds are re-opened and tragedy strikes. While nothing particularly inventive takes place, I rather liked the mood created throughout the film. The film opens with the female protagonist in jail for a crime she didn't yet did commit. Phyllis Thaxter as Joan, the troubled young lady with multiple personalities living inside her, gives a more than competent portrayal of this tortured woman, yet the film's story is rather weak and completely falls apart in the last third when some ridiculous scientific explanation is given for her aberrant behaviour. Edmund Gwenn plays a psychiatrist/family friend and gives the film a bit of credibility with his performance. The rest of the cast is adequate and the film is mildly entertaining. Hypnosis, the gas chamber, and playing with scissors are all explored.

Prototype Film-Noir from Stylist Arch Oboler who made His Name on the Radio with His Ultra-Popular "Lights Out" Program. Here He Adopts His Own Story "Alter-Ego" and brings it to the Screen for MGM.

This is One of the Few MGM Noirs of the First Wave. It would Take Years before the Haughty Studio would lend its Name Seriously to a Style so Dark.

Phyllis Thaxter gives a Good Performance in a Soul-Baring Role. Steve McNally is Miscast but manages to look Desperate and Edmund Gwenn as the Psychiatrist trying to Exorcise Thaxter's other Personality, the Evil One, is a Good Try.

With its Roots in Dr. Jekyll and Mr. Hyde, the only Reference Point at this Point for Multiple Personalities On Screen, Oboler delivers and Ultra-Stylish Descent into Schizophrenia.

The Film is Guilty of way too Much Verbiage, a Radio Drama influence, but it Balances it with Film Flourishes that are Atmospheric and Stunning.

The Movie Grips the Audience as it tries to Explain and Expose Psychiatric Methods and Procedures. But the Truth is that Not Much was Known at the Time and the Little that was Known was constantly Up for Debate in the Medical Community.

So it was No Easy Task Transferring this to the Movies. For Years Hollywood gave it a go with Extremely Inconsistent Results. It Was a Staple in Film-Noir and the Horror of Val Lewton but Main Stream and "A" Pictures were Reluctant to take it on for quite Some Time.

Overall, this is a Great Early Effort and a Striking Example of Film-Noir and the Psychological Pictures that Started a Run After the War and Never Stopped, and actually becoming a Genre of its own (The Psychological Thriller).