- Otto Preminger's Whirlpool occupies that strange world in which psychology is the dominant force governing people's lives. The same can probably be said for the real world, too, but Whirlpool features feats of hypnosis and suggestion stretched far beyond the norm. It is by combining these mental powers with an impressive amount of forethought that the crooked hypnotist and astrologer David Korvo (Jose Ferrer) manages to insinuate himself completely into the life of Ann Sutton (Gene Tierney). Korvo first meets Sutton as she is being charged with shoplifting, an action that surely would bring dishonor to both Sutton and her husband, the esteemed psychologist Bill Sutton (Richard Conte). Korvo recognizes her, however, and convinces the department store to forgo prosecution, particularly in consideration of her well-established credit account. Since this is film noir and Korvo is more than a little smarmy, we naturally assume that he does not have Ann's best interests in mind.
- Whereas the usual noir plot would have turned to blackmail, however, Whirlpool twists down a slightly different path. At a party hosted by dowager Tina Cosgrove (Constance Collier), Korvo offers to help Ann sleep by putting her into a trance. In a memorable scene, the ambient party music slowly fades out as Korvo's resonant and hypnotic voice goes to work on Ann's mind. While this helps her insomnia, we soon discover that the hypnotist has planted more than one suggestion in Ann's subconscious. Soon, Ann is discovered at the scene of the murder of Theresa Randolph (Barbara O'Neil), a former patient of Korvo's. The police, led by Lieutenant Colton (Charles Bickford), are quick to suspect Ann, and rightly so. After all, she can't account for her behavior, she was seen arguing with Randolph at the party, and Korvo has what seems like an unassailable alibi. Could hypnotism somehow explain all of these things?
- To enjoy Whirlpool, you have to be willing to meet it halfway on its use of psychology. While the origins and manifestations of hypnosis remain largely unagreed upon by the scientific community, I think everyone would agree that the subject's treatment in this film is wholly unrealistic. That said, it is exactly this exaggerated portrayal of mental power that makes Whirlpool an interesting film. I love film noir, but one gradually grows tired of guns and blackmail as the exclusive means by which unsavory characters ensnare people. Like its spiritual predecessor Spellbound (also written by Ben Hecht), Whirlpool succeeds in part because of the intrinsic strangeness of using psychology as a weapon. The remainder of the film's success can be attributed to several outstanding acting performances, excellent writing, and appropriately creepy direction, lighting, and music. My only complaint about the otherwise satisfying ending is that Korvo might have chosen to destroy the record that incriminated him from beyond the grave, but then I suppose one can't think of everything.
- Miguel Ferrer is really a dead ringer for his father. Seriously, is he a clone or something?
