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…
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…
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.)…
"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.…
I actually don't remember much about Marnie. Just a twenty-something looking Bruce Dern.
There are a lot of similarities to Spellbound, in the way that the protagonist's repressed trauma manifests itself in visceral reactions to stimuli - white lines in Spellbound, and the color red in Marnie. Unfortunately, the schematic psychology, in which everything is explained perfectly in retrospect by the big reveal, was the weakest aspect of Spellbound, so it's sad to see it magnified 20 years later. There was a brief moment when I hoped it might actually reject the simplistic psychoanalysis schtick - when Mark is trying word association on Marnie, and she sarcastically refuses to play along - but even that scene quickly devolved into predictability.
This review may contain spoilers. I can handle the truth.
Was für ein spannender, erschöpfender, moderner Film mit einer unergründlich komplexen, schwierigen, aber trotzdem sehr nachvollziehbaren Heldin. „Tiefgründig“ beschreibt den Film tatsächlich am besten, denn unter der glimmenden, weichgezeichneten Oberfläche, die wie ein bittersüßer Traum daherkommt, ist stets ein Abgrund zu spüren – Marnies furchtbare Angst, die jederzeit in Panik ausbrechen kann, aber auch ihre Enttäuschung und Einsamkeit, die in der Vergangenheit verankert sein müssen, und Marks Misogynie, die er in gönnerhaftes Mansplaining verpackt und sich in krankhafter Kontrollsucht ausdrückt und darin, das wilde Tier zu zähmen und um seines eigenen Begehrens willen „heilen“ zu wollen. Und dass sich Marnie ihm so standhaft widersetzt, dass sich die Geschichte schließlich zwischen Mutter und Tochter auflöst und dass Marnie den Mann auch…
At times it feels like it's never going to end, just keeps dragging. Weak, uninteresting story. Doesn't even explain some pretty key plot points. Hedren is good, everyone else is middling at best.
It could have been a bit shorter but Tippi Hedren was really good, especially at the end
The climax is extremely well done, tense, creepy and (probably) very shocking for its time. Otherwise, seemed to drag quite a bit. Hitch likes looong exposition. But visually, he doesn't disapoint.
This review may contain spoilers. I can handle the truth.
Equal parts intense, disturbing and wonderfully bizarre, up until the point where it decides to explain away all the weird unanswered questions and then tie everything up in a neat, happy little bow.
ETA: The more I think about this movie the more bothered I am by the happy ending. One of my favorite lines of dialogue in the movie was when Marnie accused Sean Connery's character of treating her like a caged animal. That moment really made it seem like the film was self aware about how toxic, misogynistic and fucked up Mark's behavior towards Marnie was. I mean, he literally kidnaps her and holds her against her will so that he can try to "fix" her. His established…
Marnie... Edgar Bond... ehh Marnie.
Another Hitchcock, another classic? Debatably. We follow a troubled habitual thief with humongous psychological problems, who happens to be none other than a notorious Hitchcock female lead. Tippi Hedren, the actress who plays Marnie, is doing astonishing work. She plays her character just right; awkward gestures around non-related family members, almost faints after seeing red... literally and unpleasant scenes with her mother. Perfect. Same goes for James Bond, uh Sean Connery, as Mark Rutland, although I disliked his character.
The film itself is "good", however it reminded me too much of "Vertigo". First the music. I definitely heard the magical soundtrack, the spectacular theme of Vertigo. I love this music, but I hate it when…
I didn't believe a thing that happened in this movie. One of my least favorite Hitchcocks.
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