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…
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.…
**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…
#5 in the Reverse Hitchcock project.
I have mixed feelings about 'Marnie'. It isn't a film I particularly like, and I find it exploitative and misogynistic when it comes to its female lead, Tippi Hedren, one of Hitch's ice blondes.
From the opening scenes, which centre on a woman's bottom wiggle from behind, through to scenes where the psychological block Marnie has about sex edge into areas where she is too hysterical, and male lead Connery is not convincing enough, and it leaves a bitter taste.
It's almost as if Hitch is fetishizing Hedren and taking pleasure in humiliating her through the situations in which her character is placed at the same time. As Mark, her boss and then husband…
A bit overlong & melodramatic(with some shoddy effects), an interesting psychological story about why a female kleptomaniac thief does what she does & what exactly is causing her pain, which feels a bit ahead of it's time for its dark subject matter & themes for 1964. Another good entry in Hitchcock's filmography.
Possivelmente a minha personagem patológica preferida de Hitchcock. Filme assume muito bem esse fetiche de Connery para pretensamente curar a patologia de Hedren, uma anomalia que anula outra? E em algum sentido doentio até mesmo uma objetificação para curar uma misandria? Ainda arruma tempo para ironizar toda a vibe psicanalítica barata nesse caminho. Se em algum sentido o filme marca o final de uma fase áurea de Hitchcock, é incrível como ele não tem interesse nenhum em suavizar, abstrair ou modernizar a sua abordagem formal, pelo contrário, o filme é extremamente aparente e se foca muito em uma obviedade das formas cada vez mais nítida e frontal.
This review reportedly contains spoilers. I can handle the truth.
It was supposedly a comeback vehicle for Grace Kelly, instead it became Tippi Hedren’s follow-up after her star-turning debut in THE BIRDS (1963), MARNIE is unwieldily posited as a less influential psychiatric drama amidst Hitchcock’s copious oeuvre.
Marnie (Hedren). an incorrigible thief and a gorgeous blonde, she applies for the secretary in a firm, then patiently awaits an opportunity to acquire the key to the room where safe is situated and the combination of safe codes, steals the cash and absconds. Thus as a thief, Marnie is a lone she-wolf, self-reliant, cannot tolerate to be handled by man, but as we can easily forecast, it is not a very promising vocation for her since her larcenous skill is rather rudimentary…
"Marnie, stop acting like such a ninny"
The first paragraph of the Plot section on the Marnie Wikipedia page reads:
"Margaret "Marnie" Edgar (Tippi Hedren) is a troubled young woman who has an unnatural fear and mistrust of men, thunderstorms, and the color red. She is also a thief."
Yup, that about sums up the film.
I've always heard of Marnie as a Hitchcock film that's a lesser of his later work with Frenzy being his best work of his later years. I've been impressed with Connery's work with Lumet so I thought I check out what he was up to in between Bonds with Hitchcock at the helm. Marnie was a mixed film for me, I think I probably enjoyed it far more as a Hitchcock film (with his observable touch of visuals, suspense and subject matter) than as an actual narrative. The storyline itself plays out quite interestingly with the pair of Connery and Hendren being displayed as despicable bastards of their genders, Connery pushing the boundaries of his Bond persona with a rape…
Can't rank this with the best of Hitchcock. Marnie is engaging enough viewing and Sean Connery is always awesome but it doesn't really feel that all compelling. Worth watching at least once but expect some tedium along with the mystery
Hoo boy. It’s hard to separate this from the now well-documented tension between Hitchcock and Tippi Hendren as it seems to express itself directly in the text when Sean Connery uses his superior leverage to force Marnie, Hendren’s character, to marry him. (And then forces himself on her during the “honeymoon”) That, combined with the story’s suggestion that once repressed memories are brought to the surface, the person is “fixed” or “cured” makes this film problematic. Typically, I’m not a believer in retroactively imposing modern, evolved social attitudes on films of the past, but in this case, it’s almost unavoidable, and that certainly undercuts the power of work. Hitch, to me, was always at his weakest when he attempted to…
The colors. Stop the colors.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- 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…