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…
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…
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.)…
"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.…
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…
The psychological stuff is almost as wonky as the one in Spellbound, and the romance unfortunately veers into icky territory a couple of times (both Connery and Hedren manage to mostly sell it by the end though). However, Hitchcock's skill is at Vertigo-level here in term of how he combines evocative direction, lush visual, and Herrmann's music into an intoxicating atmosphere of romantic suspense. So at the very least I enjoyed its formal aspect quite a bit.
Greens haunt this movie in diametric opposition to red. Money is the answer to the blood on Marnie's hands and I wonder what she'll do now that she doesn't even have that. Imagine if she's afraid of green now too, and imagine what that means for her day-to-day.
MARNIE may very well be Alfred Hitchcock's most divisive film. The story of a neurotic, compulsive thief (Tippi Hedren) blackmailed into marriage by her employer (Sean Connery), MARNIE was maligned at the time of its release for its overt artificiality: Hitchcock employed painted backdrops and rear projection almost amateurishly; Hedren, never trained as an actress, was visibly uncomfortable in the title role; Bernard Herrmann's score (his last for Hitchcock) recycled familiar elements of his previous work. And yet these attributes contribute to the film's singular power, which exposes the artificiality of some of our most hallowed institutions (work, marriage, parenthood) against the primal dread they conceal. Dave Kehr has compared this to the work of Rainer Werner Fassbinder, and it's every bit as stylized and unnerving as such a statement would suggest.
Tromso film club's summer contest #5: A film by Alfred Hitchcock
Tippi Hedren plays a thief with psychological problems, and Sean Connery is the man who falls for her and tries to help her. After having blackmailed her into marry him.
One of the weaker Hitchcock films. Well filmed and cut and with good performances, though a little theatrical. But it is not particularly exciting, takes a long time to get to the point, and the climax was certainly shocking at the time, not so much now. Connery is also uncomfortably dominant in many scenes.
A cynical and dark psychological thriller that doesn't stand up to Hitch's previous thriller masterpieces.
Lesser Hitchcock, but still impressive on the whole. I even quite liked the artificiality of it - those huge matte painting backdrops, and use of rear projection. Tippi Hedren was a knockout, and the cleaning lady, and the horse riding scenes both classic Hitch, in a technical/suspense sense.
But the moments of high drama just became increasingly heavy-handed, and Hitchcock takes all of the armchair psychology stuff too seriously. It was also pretty disappointing how Diane Baker's character didn't really live up to its potential. The Marnie / Lil rivalry was never resolved.
This review reportedly contains spoilers. I can handle the truth.
conclusion: not telling your daughter who suffers recurring nightmares and gets triggered by the colour red that she is going through all of that because she killed a man who was molesting her as a child is a v bad idea
A darker, more cynical update of Hitchcock's Vertigo that doesn't always succeed, and is nowhere near as subtle as the original, but whose very existence begs a reconsideration of it that doesn't amount to the same cheap Tippi jokes often made to denigrate Marnie.
It's become a joke to rap on about how confused, misogynistic, and uneven Alfred Hitchcock's Marnie is. And, true though the technique is sloppy at parts, I think we can admire Marnie as being one of the very few times he portrays a non-romanticized heroine: a woman who's been beaten, sodomized, and raped, and who hates the touch of men. As played by 'Tippi' Hedren, this woman, on the other hand, is not painted out to…
As far as Hitchcock films go, this one really feels like a misfire on several fronts. What makes it so frustrating to watch is that you get a sense watching this that Hitch must've been really proud his efforts here, and yet all of the many parts just don't come together all that well.
My main problem with this film was Hitchcock's giddiness over selling this as a "sex mystery" as he calls it in the trailers at the time and advertisements and his insistence on the inclusion of the much talked about rape scene. I get it that using the word "sex" in an ad in the early 60's was considered taboo and Hitchcock became more and more eager…