In alphabetical order; I'm not a fan of every film that's listed here but, even if I'm not a fan…
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…
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.)…
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.…
50 Shades of Rape. James Rape.
one of hitch's best
I have not seen the complete Alfred Hitchcock library of films, but this is my least favorite so far. I thought the first and third acts were solid, but the second act was aimless and bloated. Tippi Hedren was alright, but Sean Connery was awful. He seemed disinterested and cardboard. The Hitchcock style could still be seen throughout the film, but the poor pacing and acting did this film in.
This review may contain spoilers. I can handle the truth.
Screened as part of "Unseen Hitchcock"
I have been familiar with this film since forever because it is one of Mom's favorites, but seeing it in its entirety for the first time was still a fascinating experience. Hitchcock's visual experimentation and Bernard Hermann's lush score alone make this hard to dismiss, but I was struck by just how queasily unsettling Sean Connery's character is. At first we believe he is the handsome hero, the understanding male who will psychoanalyze and cure the disturbed female of her many issues. And then comes the rape scene. This may be the single most disturbing scene I have ever encountered in a Hitchcock film, and a character development far more shocking than "nice guy" Norman Bates turning out to be "Mother." He seriously has more dangerous issues than Marnie. This one is going to fester in my mind for a while.
"That dream, you've had it before."
A deeply strange, murky little film by Hitchcock, probably most accurately described as a mashup of his best film, Vertigo, with The Taming of the Shrew. While watching, I'm reminded of Peter Brooks' assessment of plot - simply put, that the narrative thrust somehow mirrors the sexual thrust, the thrust of the need for knowledge & possession.
This might sound simplistic, but Hitchcock's indulgences in mystery result in perhaps his best films - Rear Window; Psycho; Vertigo - because of his willingness to try uncertainty. Simply what DO these things mean? What are we if they do?
So, really, the fogginess of Marnie should've been its greatest strength. Unfortunately, it's a tiresome, overlong film featuring…
Hitchcock’s rendition of ”Little Red Riding Hood”, with another flaxen heroine bearing stolen loot. Only this journey begins at dawn’s blood with mother’s 'Cisco lodgings the destination, while stampeding erotic rites are eluded. Perhaps what cultivates Marnie’s sustained spectral atmosphere is how it concludes with the most disconcerting of final acts; Red Riding Hood’s transition through the forest threshold ends with being violently consoled and swallowed by Connery’s fiendish, brogue wolf while mother watches through a broken bodily vessel.
Is Marnie the most underrated film from Alfred Hitchcock? Other candidates would have to include Shadow of a Doubt (a film Hitchcock himself describes as his favorite), Rope (which I appreciate immensely as a cinematic experiment) or Foreign Correspondent (a great wartime thriller made early in Hitchcock's Hollywood arrival). The fact that there are this many underrated gems is a testament to how great Hitchcock's career was, as many of these would be highlights in other directors filmography's.
But yes, I think my vote would be for Marnie, not only as his most underrated film (to be clear, I'd rank Shadow of a Doubt above this but feel like it gets its proper due) but also as his last masterpiece.…
This film might work, if the psychology felt more plausible. Tippi Hedren is pretty big, but I think she is pretty good opposite, Connery who is stiff, but actually feels effective, because he is withholding what he knows and when through the whole film. If his eventual psychological assessment felt more realistic I think it might have paid off.
Absolutely wild, and a complete psychological mess (or feast, if you're optimistic!), but I can't deny how fascinating I find Marnie's character, or how much I love horses...
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
Movies that are slightly off.