All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
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…
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…
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…
"I've caught something really wild this time, haven't I?" ~ Mark
Marnie is a compulsive thief. Marnie is psychotic. Manie is a liar and a frigid man-hater. So why do we do we root for Marnie throughout this film?
For one thing, Marnie Edgar is played by Tippi Hedren, who had already earned our sympathy in her breakout debut as the female lead in "The Birds" a year earlier. Also, as director Alfred Hitchcock explains, "The average person looking at someone doing evil or wrong wants the person to get away with it. You can't go as far as murder, of course, but almost anything up to that point." So Marie steals money. She steals identities. She steals our sympathy.…
One great fucking suspense sequence...otherwise...what the fuck did I just watch?
THAT DAMN HORSE!
BITCH DIDN'T HAVE ANY REFERENCES!
SEXUAL ABBERATIONS OF THE CRIMINAL FEMALE!
this one has no chill
and its about halfway to great
also, the only other sean connery film i've seen is
...wait for it...
This, one of the most sophisticated films of Sir Alfred Hitchcock's oeuvre, is also one of the most polarizing for his fans, both for reasons on and off the set. Though it has its share of flaws, it's definitely one of the greatest films of his golden years, and is an excellent character study of a psychologically troubled woman (and would make an outstanding triple-bill with his 'Spellbound', from a generation earlier, and 'Blackmail' from two generations prior) who is beautiful but a kleptomaniac who has many phobias, particularly of intimacy. Sir Sean Connery is excellent as the frustrated boss/eventual husband (Marlon Brando and Peter O'Toole were also considered) and, even considering all of the problems in making the film,…
Holy shit this is easily Hitchcock's most fucked up movie. Shocked this was made in 1964. Would have been one of my all-time favorites if not for one problem I have with how everything wraps up, but overall still really great stuff.
This review may contain spoilers. I can handle the truth.
This is the most disturbing film I have watched. I'll trust Carlos that this isn't simply misogynistic and there is more to it. I almost cried at the end. Sean Connery was terrifying, a popular well liked actor, admired and considered "handsome" by most, but in this film, he is just filthy. Hitchcock destroys any innocence left and creates an inescapable nightmare.
Richard Brody says it all here.
On the DVD bonus materials, critic Robin Wood says that if you don't like MARNIE, you don't like Hitchcock, and by that measure you don't like cinema. To which I say, if you don't like ridiculous generalities and false equivalencies, you don't like Robin Wood.
Hitchcock scraping bottom. Marnie (Tippi Hedren) is a frigid kleptomaniac; Sean Connery, looking pale and beleaguered, plays the man scheduled to cure her on both counts. It hardly seems worth the trouble. With Diane Baker, Martin Gabel, Louise Latham, and Bruce Dern. Screenplay by Jay Presson Allen, based on a novel by Winston Graham; music by Bernard Herrmann. Universal.
It's hard to say which character is in direst need for a psychoanalyst, but this doubt alone is not enough to keep the audience interested at all times. It's such an irregular study of repression that we're even pointed to book titles that spell it out for us ("Sexual Aberrations of the Criminal Female", indeed!). But one thing in certain: from the long list of mean and oppressive mothers in Hitchcock's filmography, Marnie's mom takes the top spot.
More Info to come
Movies that are slightly off.