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…
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.
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.…
A film with many layers and lots of analysis that could surely be done in regards to it. Some very risky material that Hitchcock does not shy away from along with the usual suspenseful set pieces that keep you from breathing for minutes at a time. The reveal isn't especially shocking but it makes sense in regards to Hedren's behavior and everything that came before. Hitchcock's use of color is especially evocative here as it is a central issue for Hedren's character and he is allowed to do some fun things when it comes to that.
Tippi Hedren plays a woman who has serious issues and the lesser one is stealing money from her workplaces. By coincidence, one man (Sean Connery) recognizes her from her previous job and from that incident it all turns into a very twisted psychological thriller.
Unfortunately, this film is a bit too long compared to its plot but I can handle that. I was more irritated by those small flaws, fault is mostly the production year's technical limits. Still, the horse scene in the end was too clumsy and I didn't even really understood the reason why it was made. I also didn't really tolerate all the psychological drivel. But was this still fascinating? Yes, it really was! Both Hedren and…
such a freudian clusterfuck
A tense thriller from director Alfred Hitchcock.
"Marnie" is just one of many other underpreciated works from Hitchcock, that stands out not only as one of his best but perhaps his boldest film, with a sharp psychological character study. And if you thought Janet Leigh from "Psycho" or Grace Kelly in "Rear Window" were the blondes muses from Hitchcock, meet Tippi Hedren, one of the most beautiful and undoubtedly the most disturbed Hitchcockian muse!
This is a movie that makes me aware of my intellectual limitations. I know it wasn't fully enjoyable- but it's hard to say why. One thing I can pinpoint is the tedious repetition of the leading lady's "triggers." Hitchcock could have done with more subtly here, as even a total moron can understand after the first 10 times that the color red sets her off.
I was relieved when she finally went on a tirade against Sean Connery for being so head over heals for her based on looks and despite the fact that she obviously 1) doesn't love him, 2) is a bitch, and 3) costs him tons of money. Growing up as the non-materialistic, curly-headed, dorky girl with…
Marnie Edgar: You don't love me. I'm just something you've caught! You think I'm some sort of animal you've trapped!
Mark Rutland: That's right - you are. And I've caught something really wild this time, haven't I? I've tracked you and caught you and by God I'm going to keep you.
You will be seeing a lot more Alfred Hitchcock reviews from me in the coming days.
Marnie.... Well there's not much to talk about.... Let's be honest we only want to hear about vertigo and psycho!
A Hitchcock movie which isn't often celebrated as up there with the best, and yet it certainly is worthy. It's one of Connery's better performances for a start. It has some great Expressionist influenced imagery and a bonus of Bruce Dern near the end. All this and a marvellous Tippi Hedren performance.
We won't mention the dodgy back projection.
Wow! What a movie! Even though it could've been better, it was well put together.
More Info to come