Movies that are slightly off.
Thief... Liar... Cheat... she was all of these and he knew it!
Marnie is a beautiful kleptomaniac who is in love with businessman Mark Rutland. Marnie who is a compulsive thief is being watched by her new boss Mark who suspects her of stealing from him and thus decides to blackmail her in the most unusual way. A psychological thriller from Alfred Hitchcock based on a novel of the same name by Winston Graham.
Marnie bleeds like an open wound, but you cannot die from this injury. The blood keeps spilling and spilling until it becomes the background of your life and informs your own existence. There's no patching up, moving on and healing so you dig and dig into your own flesh until you're more wound than person and any small prick can cause the blood to overflow once more. Marnie has never known another feeling her entire life.
Throughout his decades-spanning career, Alfred Hitchcock has given us some of the finest thrillers in cinema that have wildly entertained critics & viewers alike, but Marnie is unfortunately not one of them. It's a tad overlong with a bit messy plot for a psychological thriller & although it has its little moments, it ultimately remains a disappointing experience for the most part.
Marnie tells the story of the troubled titular character who is a habitual thief & liar and has some serious psychological problems. After she is caught by her boss while trying to steal from her latest place of employment, he forces her to marry him despite her uneasy behaviour and, after finding out about her traumatic past, helps her to confront…
There are those that believe that Marnie was Hitchcock's final masterpiece - but it really wasn't.
A complex melodrama that attempts to tackle several different subjects at once, it never really makes any of them interesting enough to care much about them. The one or two of them that look as though they could be very interesting are not elaborated on at all or end up being dropped altogether. Marnie is a maddening film that ends up feeling more like Hitchcock biting off more than he can chew.
He had proved that he could tackle complex and well-woven relationship drama-thrillers with Vertigo but there is a feeling of…
Occupies a spot almost precisely halfway between the warped glory of Vertigo and the leaden idiocy of Spellbound. I know some folks argue that we're supposed to embrace the latter in this instance, viewing Marnie's repressed trauma as a correlative to (e.g.) the Expressionistic matte painting at the end of her childhood street, but one of my many failings is an inability to take seriously any psychological case study rooted entirely in a single slice of backstory that Explains Everything. (As a counterexample, think of how the final scene of Exotica complicates that template. Or, hell, think of Vertigo itself, which gives you the traumatic incident right up front and doesn't pretend it has any bearing on Scottie's mania.)…
Up there with Vertigo in terms of psychological density with the occasional bluntness of Hitchcock's narrative exposition attempting to trick us into believing that he's being a lot less subtle here than he actually is. The falseness of the sets (especially around Marnie's mother's house) act as some sort of physical manifestation of the pervasive lies and deceit that serve as much of the drive - it's all just a façade, an extra shell to hide the forgotten truth. Some obvious connections to gialli in terms of form and character motivations/actions being directly linked to past trauma, and it even features a rather intense flashback scene with blood so deeply red it would impress Argento. Personally, I…
Rarely gets better than this.
This was one of a few Hitch films I had seen so long ago that it had barely remained in my memory, all I recalled were that horses were involved somehow. There is certainly a lot here to admire, especially in the craft. Hitch's visual storytelling is in full flight despite clinging to his soundstage insistence in an era when filmmaking was spreading its wings. It feels like an attempt to recreate another Vertigo, but I personally think it misses the mark on many levels, especially performances, line deliveries and compelling narrative. The documentary that accompanies the Blu-Ray is enlightening as to the screenwriting issues regarding certain threads and scenes (SPOILER...the rape scene...) and it made me wonder whether Hitchcock's…
Rarely gets better than this.
A fascinating character study and perhaps Hitch's edgiest work.
The script was wrong, the acting was fairly miserable especially Hedren. For a Hitchcock it wasn't that suspenseful and was actually pretty poor. I didn't expect much going in but I expected better than this. I hope this isn't a sign of things to come from post-The Birds Hitchcock, if so I'm in for a not so wild ride.
A couple of suspenseful scenes and yet another example of Hitchcock's flawless directing make up for the rather overlong running time and for some unconvincing parts in the screenplay.
The twisted sexual push-pull of captor Hitchcock and captive Hedren informs every self-reflexive moment.
“What about your dreams, daddy-o?”
Though the title character’s neurosis is the true focus of the movie, I found the more intriguing character to be that of Mark Rutland, the man so obsessed with her that he forces her into marriage. Sean Connery plays Mark with the same suave masculinity he brought to James Bond for the first time just two years prior. This time, though, that confidence is mixed with a myopic fixation bordering on dangerous and a manipulative streak that approaches villainy. Neither were traits of Bond, allowing Connery to show his range by pulling off this added complexity with absolute believability. He may not be the criminal in the story, but Rutland is certainly a jerk (arguably even a rapist), yet it’s…
Wait, so she just forgives the rapist in the end and drives off into the sunset with him? Oh, Hitchcock. You almost, *almost* got through an entire film without relegating a woman's issues and her modesty as something she can just choose to get over.
A film about men’s worst and deepest fear: women. And the possibility that they could be without and outside them.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
one per and alphabetical
i'll try to keep this one up :^)
in flux and some placements may be ephemeral…