All the films from all the editions, including those subsequently removed, presently totalling 1177. 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.
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.)…
Review In A Nutshell:
Marnie shows the Master of Suspense treading similar water, psychological character study, but this time he dissects the mind of a damaged female; Vertigo, Psycho, and Spellbound find the vulnerabilities of the male figure with the female present to help or further break their fragile mind.
Marnie had the potential to be great, it contains all the essential materials required for an essential classic Hitchcock, but every single one of those ingredients seem to be like their lesser quality counterparts, producing a final product that barely leaves taste in the tongue. The characters aren't as developed as Hitchcock's previous film and the two leading actors together do not possess that sensual chemistry that made Vertigo or…
"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.…
Film #32 Scavenger Hunt November
Task #21 Film Featuring An Actor Who Played James Bond
Sean Connery was quite an attractive man when he was younger. lol. I absolutely loved this movie. I thought both Sean Connery and Tippi Hedren did an incredible job in the two roles. The story really captured my interest from the beginning and I wasn't completely sure how it was going to end until the end. I think all of the characters have major issues, but they were developed really well. I have always liked Alfred Hitchcock and this was no exception.
Too much like Vertigo but less good.
Edgier Hitchcock; but unfortunatly loses all the fun and energie of his 50's period output. The hole thing was quite a cold affair, humorless and overly confident Connery and okay Tippi Hedren. Stylish in certain aspects(Marnie's numerous dresses) but too long for no reason.
The trouble with Marnie...
Interesting story but everything is handled too dramatically. Tippi Hedren is quite bad in it. I thought the ending was pretty satisfying though.
Watched with Lauren and Rachel via Amazon.
"I never had time to take care of Marnie's hair when she was a little kid like you…"
If you've followed me here long enough you'll know how much music means for me in movies so it'll hopefully make sense when I say that it was some time between watching The Birds (this Hitchcock Blonde, Tippi Hedren's, only other outing) last week and listening to Bernard Herrmann's score for this over the weekend that I decided to update and post that Hitchcock Ranked list I posted. It was the Bernard Herrmann cue titled The Storm (on the soundtrack at least) that made me realise how much I was going to love this again when I next saw it, and I…
sinto como se a estrutura do filme já começasse se dando por meio de uma fragilidade constante. o suspense sobre as razões da cleptomania não ocupa o centro do filme, não sozinho. isso até espera um bom tempo antes de tomar mais forma, o tempo da tentativa de mensuração do abismo entre os personagens, de que modo um resgata o outro, até quando poderão suportar sem reagir efetivamente à influência de uma tela imóvel da qual se prolonga a personagem de tippi hedren e como o fruto da imagem desorganiza e se desorganiza no espaço além dela. é um filme da prolongação do comportamento de tal imagem e do que não permanecerá para sempre alheio a ela, apesar de não…
Tippi Hedren, rojo y Forio