Synopsis
Thief... Liar... Cheat... she was all of these and he knew it!
Marnie is a thief, a liar, and a cheat. When her new boss, Mark Rutland, catches on to her routine kleptomania, she finds herself being blackmailed.
Marnie
1964 Directed by Alfred Hitchcock
Cast
Tippi Hedren Sean Connery Diane Baker Martin Gabel Louise Latham Alan Napier Bob Sweeney Milton Selzer Henry Beckman Edith Evanson Mariette Hartley Bruce Dern S. John Launer Meg Wyllie Kimberly Beck Rupert Crosse Melody Thomas Scott Lillian Bronson Kenner G. Kemp Harold Gould Emmaline Henry Alfred Hitchcock
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Alternative Titles
Pas de Printemps pour Marnie, 마니
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Marnie bleeds like an open wound, but you cannot die from this injury. The blood keeps spilling and spilling until it becomes the background of your life and informs your own existence. There's no patching up, moving on and healing so you dig and dig into your own flesh until you're more wound than person and any small prick can cause the blood to overflow once more. Marnie has never known another feeling her entire life.
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"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…
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97
"You Freud, me Jane?"
Love bleeds red. Hitchcock's ultimate cat-call of sexual perversion.
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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…
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tippi hedren plays a baltimore crip who wilds out whenever she sees the color red in this underrated masterpiece from alfred hitchcocc
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Marnie makes me feel incredibly unclean when I finish it. Dig this: a brutalized woman, brutalized when she was young, in order to overcome her present-day brutalization, must be brutalized by a brutal man (Sean Connery), so that she can remember the time she assisted in brutalizing a man brutalizing her mother. Brutal, no? It's a paradox that makes my skin crawl, and yet it is made more affective by Hitchcock's ever-scrutinizing camera. Every part of star Tippi Hedren's body is sliced up and presented to us as though she were a turkey on a silver platter. We see her from behind (in a darkened wig), then her hands fumbling with a key, then her feet pushing the key into…
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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.)…
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Marnie Edgar: You don't love me. I'm just something you've caught! You think I'm some sort of animal you've trapped!
Mark Rutland: That's right - you are. And I've caught something really wild this time, haven't I? I've tracked you and caught you and by God I'm going to keep you.
We all know Alfred Hitchcock—the man behind the camera—a.k.a. the Master of Suspense, but watching Marnie an epiphany struck me as I looked back at Hitchock's career. He is also, undoubtedly, the Master of Romance.
Tippi Hedren's Marnie Edgar is not only the embodiment of an Ice Cold Queen. She is mentally and emotionally one as well—an unapologetic, stubborn, personality of damaged goods. The performance is now one of…
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Alfred Hitchcock’s Marnie is a movie which stares more cavernously into human mentality and sexuality more distinctively than many of his other films, and also takes them to very disconcerting places. The opening shots exemplify his embodiment of visual storytelling, and the later scenes of tension can rank alongside some of his most satisfactory. It's based on the 1961 novel of the same name by Winston Graham and finds both Tippi Hedren and Sean Connery in tip-top form. There are ample amounts of fascinating Hitchcockian details, and this is undoubtedly an underappreciated gem in his impressive and monumental filmography.
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“If you think you can hide what your interests are — what your prurient interests are, what your noble interests are, what your fascinations are — if you think you can hide that in your work as a film director, you’re nuts. I think [Hitchcock] was one of the first guys who said, ‘I’m gonna go with it. I gotta be me.’ And in the case of his best work there’s a more direct umbilicus to his subconscious.” David Fincher
The entire collection of Hitchcock’s subliminal interests seem to be manifested in Marnie: unexplainable compulsions, a man’s need to overhaul a woman, traps and cages, chromophobia, the need for confession and its healing redemptive powers, psychosexual dysfunction, false identities, stairs,…