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.)…
**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…
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…
#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…
Apart from the fact I dislike Tippi Hedren's hair, I quite like this Hitchcock offering.
Good bit of robbery, disguise, childhood trauma and forced marriage through blackmail. Nice.
Traumas infantiles en modo Hitchcock , no es mi favorita del director pero no por ello no deja de ser interesante
I finally get Sean Connery, because I've finally see him play an actual character.
Not as florid as Hitchcock's higher profile works, steeped in withering pale grays, but that allows it to be a more gradually, subtly disturbing character study. Not of Marnie, mind you, whose issues are sussed out diligently by the real focal point of Hitchcock's cinematic psycho-analysis, Connery's Mark Rutland. It's the same charm Connery's put to work on a more accepted womanizer in Bond, but turned possessive, obsessive, and unsettlingly self-assured by his own intellect. His first kiss with Marnie is one of the most uncomfortable romantic gestures I've seen onscreen. That women being the truly most dangerous game is his dominant ideology says a great deal about the gender hierarchy then and now.
Sean Connery and 'Tippi' Hedren are both terrific, turning in compelling performances in Hithcock's tale of a kleptomaniac and the tense, unconventional love affair between her and the man she tries to rob. Even though Hitchcock is recycling themes from Spellbound and Psycho, he does a great job of maintaining suspense all the way through the film, ratcheting up the aura of dread as Connery begins to uncover the mystery of what plagues Hedren. The ending is overly simplistic and slightly undermines what came before by wrapping up everything too neatly, but it's certainly not a damning flaw in an otherwise superbly crafted thriller.
One of Hitchcock's most underrated works.
Marnie is reminiscent of his silent era titles; it's a film that lingers in the shadows and plays on the mind as opposed to shocking or terrifying through graphic visuals.
Tippi Hendren exits from the director's camera in truly dizzying style here and Sean Connery is equally fantastic.
Brilliantly playing to his strengths, Hitchcock racks up tension through spitting dialogue exchanges and concludes his film with some truly unforgettable imagery.
Marnie is a gem; one that even she herself would like to steal.
I feel like Connery just waltzed in off a Bond set and decided that he could play this role the same. The concept of seduction/blackmail on paper seems pure Hitchcock, but like everything the man did after The Birds this one seems a bit inert. I did notice that both this and Psycho feature women who steal from their employer and where mental instability is blamed on the mother.
god bless tippi hedren she's a gem but she's truly one of the least charismatic actors i've ever seen onscreen and she can not carry this movie for the life of her
I suspect this film doesn't really work, at least not the way the several masterpieces AH made right before it do, and he might actually be reaching for things he can't quite get right, but I love it anyway. He's experimenting, and I'm not quite sure how -- I can see the new ground he's working on in PSYCHO and THE BIRDS, but he's trying something else here, and I'm not sure what's different (apart from the fascinating and new interest in extended shots looking down on people from overhead). Hedren is terrific, and so are all the women in the film (and most of the men, but they also seem to be in a slightly more traditional film). Wasn't sure if it was worth the purchase at first, but it was.
If it weren't for the disappointingly expository flashback scene at the end, which unfortunately has to Spell Everything Out, we'd have a masterpiece on our hands. As it stands, it might still be one.
In my estimation, it blows highly regarded Hitchcock fare such as The 39 Steps, Strangers On A Train, The Lady Vanishes and North By Northwest - yes I said it - out of the water. A knock on Hitchcock - for me - is that many of his films, albeit flashing superlative craft, are ultimately too weightless to have a profound impact. But I find the notion of centering a narrative predicated upon Marnie's bizarre and resolute rejection of masculinity (and of James fuckin' Bond no less) an almost incomprehensibly insane idea for a big studio to take on. Truly grateful for the deep strangeness at play here.
And a great, great first shot.
- 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…