All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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.…
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.)…
**Dinner with Hitchcock - Film 13**
I had heard that Hitchcock's films declined in quality following The Birds, so I was braced for a steady downhill slide to the end. What I was not ready for was Hitchcock driving straight off a cliff with Marnie, easily the worst film of his I've seen so far. Titular character Marine Edgar is a con-artist and a thief who lives a lavish lifestyle by ripping off her employers. She bites off a little more then she can chew when she steals from Mark Rutland however, leading her into a direct collision course with her own, dark past.
Here's my biggest problem with Marnie, for the female characters in the film, marriage solves every…
Not enough suspense.
Not enough sex.
Not enough mystery.
Extra points for that random Scottish guy attempting a different accent.
Good performances, and respectful treatment of mental illness, but I thought this movies was too long an 2 hr. 10 min. Maybe Hitch felt he had to sufficiently develop the characters to get us to buy into the plot, which takes some doing. Connery is quite noble, despite the fact that he "rapes" his frigid wife.
Hitchcock does some great things, as always, but in the end this never really grabbed me.
I Think that this is on the most underrated films, that Hitchcock has ever done.
I also feel that it shows that the master has a few flaws in his craft.
there is just something that is slightly off about this movie little mistakes, but that is what gives the move it's Charm.
I think that both Hedrin and Connery, give great performances in roles that they are just not right for.
if you are a fan of Hitchcock and have not seen this you need to.
I didn't think any Hitchcock movie could be more psychologically unnerving to me than VERTIGO. Then I watched MARNIE.
[...] Was anfänglich nur wie eine atmosphärisch eingefangene Gaunergeschichte anmutet, bekommt schnell Elemente einer Romanze, sowie eines Beziehungsdramas und nimmt zu guterletzt die Abzweigung in den Sumpf tief psychologischer Traumata – der Meister jongliert mal wieder höchst (post)modern mit Filmgenres und verschmilzt sie zu einem Ganzen. Mark, hier in der Blüte von Connery’s Testosteron-geschwängertem Charisma verkörprt, gibt sich nicht mit Abspeisungen zufrieden und beginnt in Marnie’s Vergangenheit zu bohren. Diese sträubt sich immens, doch je mehr ihrer geschundenen Seele er in mühsamer, teils ruppiger psychologischer Kleinstarbeit freilegt, umso tiefer fällt sie in ein Loch. Die Wahrheit zu verdrängen ist oft leichter, als ihr ins Gesicht zu schauen. Stück für Stück erfahren wir mehr aus ihrer Vergangenheit, kriegen eine Ahnung, um welche schlimme Wahrheit es gehen könnte, doch das endgültige Bild formt sich nie klar genug, um die richtigen Schlüsse daraus zu ziehen – Hitchcock, halt. [...]
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This review reportedly contains spoilers. I can handle the truth.
I first saw Marnie a few years ago and wasn't to fond of it. I liked it a little more on this rewatch, but I still don't think this is a particularly good movie. The first act is pretty enticing, mind you. The introduction to the titular character is great, Hitchcock utilizes some nice visual storytelling to show her process, and her theft is a really strong set-piece and definitely the strongest scene in the film. Unfortunately the film takes a pretty steep dive as Marnie and Mark's relationship becomes more central to the story. The basic idea is that Mark is attempting to uncover why Marnie is so frigid, yet he literally blackmails her into marriage and goes on…
This gets a lot of crap thrown at it, but I've never understood why. It's messy and complicated, but I've always loved it.
I'll begin with the caveat that I do not particularly care for the work of Hitchcock. I think Foreign Correspondent might be my favorite of his, but I've never been bowled over. Marnie is no exception and is probably one of my least favorite Hitchcock films. The script isn't particularly tight as the story meanders for half the film before it finds its legs and I'm not into the psychoanalysis Hitchcock seems to stuff into many of his films. The most entertaining parts to me were Sean Connery's terrible American accent that he slowly gives up on throughout the film, as well as the egregiously obvious rear-projection in multiple scenes. If you're into Spellbound meets Taming of The Shrew, then Marnie is right for you.
Jesus, what is this movie even about?
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
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- Tokyo Story
- The Rules of the Game
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game