All the films from all the editions, including those subsequently removed, presently totalling 1154. 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.
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…
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.)…
Sometimes I do think it's the best movie ever.
When you sit down to watch a Hitchcock film you understand that you will be watching a number of separate strands that will possibly never tie up, as you attempt to peel back the multiple layers hidden underneath. Marnie feels a little different in that respect, with much of that analysis used as a narrative tool.
As expected we are given two intriguing characters to unravel in Mark Rutland and Marnie Edgar. In their own right they each present a myriad of Doctors couch material, so it's a shame that two hours later it doesn't feel as if much ground has been covered at all.
Marnie is a woman on the run from her own identity, jumping from crime to…
Alfred Hitchcock may have passed away in 1980 but the death of his directorial career occurs at the end of Marnie. From here on in, Alfred Hitchcock would go onto direct four more films, none of which contains the director’s fascination, interest or investment. Sure, Frenzy was a spectacular Hitchcock film but represents simply an antifeminist viewpoint of Alfred Hitchcock, unleashed to the world. Marnie may not be great but it reflects on Hitchcock’s personal life, his torment at the hands of his mother and his disgust towards blond women, best exemplified with the casting choice of Tippi Hedren, whom Hitchcock hated.
The most glaring issue with Marnie to me, despite the leisurely pacing during the first half that prevents…
You Freud, me Jane?
Originally Marnie was planned to be Grace Kelly's big return to films under the direction of Alfred Hitchcock no less. For various reasons Kelly backed out of the project with the most common belief being that the people of Monaco wouldn't have approved of having their Princess portraying a sexually disturbed kleptomaniac.
Hitchcock kept the rights to the novel, but put the film on hold with Kelly's departure while he went on to make The Birds. He ended up offering the lead of Marnie to Tippi Hedren in the middle of shooting The Birds regardless of what the studio was suggesting. Sean Connery on the other hand was offered the role after Hitchcock was…
One of the most underestimated movies of Hitchcock. It has a great power and atmosphere. It locks you inside it and you find it quite hard to get out, unless all the mysteries are solved. Why is Marnie stealing? Why is she so afraid of red color and hates men touching her? Her husband is trying his best to get her out of this, to find out what is wrong. Such a great character he is. He hides more than we expect and still will do anything to help this desperate and strange woman.
The 3rd film from Alfred Hitchcock in the 60's was in a no win situation. Having following the two masterpieces Psycho,and The Birds,his next movie had to have a killer story, but audiences got this story that was too complex for audiences at the time. Sean Connery and Tippi Hendren are really great here,and the film has moments of suspense but the whole film is weighed down by some serious drama. Great but nowhere near as good as his classics.
Vista a la 1:00 am a través de Netflix.
The major motivator in watching this movie is that once my mother told me that there was a scene in it that terrified her when she was a kid. At the two-hour mark, I was pretty certain this scene was from a different movie and I was right. What I got instead was a long story of love, of a sort. There is a lot of sexism here, which is glaring in today's light. But Mr. Master of Suspense does deliver a watchable, somewhat suspenseful film, even if it's 131 minutes long.
Spooky technique at a distance. I didn't think I could be surprised by Hitch anymore, much less shocked.
This may be my fave Hitchcock. Always interesting, underrated and rewatchable (IMHO). It shares some of the themes of Vertigo and while I know it's not the better film. I come back to this one more often.
This review reportedly contains spoilers. I can handle the truth.
PROMPT: What similarities can you detect (in plot, characterization, theme, m-e-s, cinematography, editing, sound, etc.) between Vertigo and the independently chosen Hitchcock film you watched this weekend? Be specific.
・Dramatic opening score that begins right at the beginning (even before the actual credits sequence)
・Robert Burks is the cinematographer
・Edith Head is the costume designer
・George Tomasini was the editor
・Score by Bernard Herrmann
・Both movies start with an extreme close-up shot (on the fists on Vertigo and on the purse in Marnie)
・Repetition of shots (e.g. the ECU on the purse is repeated in Marnie; there are countless repeated/similar shots in Vertigo) (except not as much of it in Marnie)
・Hitchcock cameos :)
・The significance of specific colors (especially…
Marnie's similarity to Vertigo surfaced before any characters or aspects of the plot were introduced; it surfaced during the credits. The credits in Marnie were similar to those in Vertigo because of the sound design in each respective movie. Both movies begin with the tension filled, and anxiety provoking score of Herrmann thereby setting the thrilling tone of each movie.
Marnie and Vertigo also share a very similar color layout. Both movies extensively use green, yellow, white, and red. The red color in particular is mutual on multiple levels. The red tint on the woman's face in the credits of Vertigo directly parallels the red tint that often covers Marnie's face. Furthmore, Hitchcock uses red in both movies to initiate…
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- The Rules of the Game
- Tokyo Story
Another year, another update. 2012 List can be found here.
The following is a really extensive and great list of…
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game