"The legacy of Alfred Hitchcock is that he is a master of control; a director so in tune with suspense, time and pacing that he could make audiences suffer before unleashing a grand epiphany which made each and every person come back asking for more. This was true even in his previous film starring Tippi Hedren, The Birds. That movie was a box office smash with many of its images and isolated scenes, like the one of crows gathering on a power line, becoming iconic over time. Marnie is fascinating, because Hitchcock seems to have no control here. He's beholden to his worst curiosities and sexual perversions, and there's a moral unsureness about how to film characters like Rutland, who…

Throughout his decades-spanning career, Alfred Hitchcock gave 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 & resolve…

61/100

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.)…

What’s the mystery behind Marnie? An habitual thief with a pathological hatred of men and storms and the colour red.
Marnie is a psychological thriller starring Tippi Hedren and Sean Connery who’s star was on the rise (the film was made between From Russia, With Love and Goldfinger), and soon to be a global superstar with the third Bond movie, and with it Bondmania,  released a few months after Marnie.
Connery gives an excellent performance as a publishing magnate who hires a new office girl who peeks his interest, there is something familiar about her. Indeed her previous victim was one of Mark Rutland’s (Connery) associates.
The film follows Mark and Marnie’s relationship as he realises there is something deeply wrong with…

If you ever needed further evidence that Hitchcock was fascinated with mental illness, and everything that comes with it, then just watch Marnie. This is taking ideas he scratched the surface on in the past, and diving much deeper (although perhaps he needed to consult a few doctors before trying to tackle something this complex.) This entire film is an unusual exploration of the way that childhood trauma can affect people as they grow into adults. It’s important to note that I fully recognize the science behind this film is totally ridiculous, and the way that her mental health is treated is horribly antiquated. I was terribly uncomfortable with the fact that a non-professional tried to act as psychiatrist in…

"Marnie" war nach "Die Vögel" (1963) der zweite FIlm Alfred Hitchcocks, den ich in meiner Kindheit sah und zog mich wie jener in den Bann, ohne jedoch ein kleines Kindheitstrauma auszulösen wie "Die Vögel". Von der zeitgenössischen Kritik wurde "Marnie" ähnlich verschmäht wie "Vertigo" (1958) - man bemängelte unrealistische Szenenbilder, gemeint ist z. B. das in seinen Größenverhältnissen unrealistisch gigantisch dargestellte Schiff im Hafen Baltimores im Hintergrund von Marnies Geburtshaus. Dass dies die kindliche Weltsicht der seit ihrer Kindheit traumatisierten Marnie surrealistisch unterstreicht kam ihnen anscheinend nicht in den Sinn. Warum jedoch "Marnie" heute trotzdem als erster einer ununterbrochenen Reihe "schwacher" Hitchcockfilme gilt, liegt an der freudianischen Küchenpsychologie mit der Marnie erst von einem Laien behandelt und schließlich durch Konfrontation…