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…

Alfred Hitchcock Ranked

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…

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.)…

Part of the Alfred Hitchcock Sound Era Films In Chronological Order project.

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…

Otra que se posiciona entre mis favoritas absolutas del maestro Hitchcock. Con un Sean Connery en su perfecto papel de playboy millonario comprensivo, y una enome Tippi Hedren que plasma la inestabilidad emocional en pantalla de manera magistral, la tortuosa historia de amor entre Marnie y Mark tendrá su soberbia justificación en un final tan apoteósico como espeluznante.

Enfermiza hasta niveles máximos, sesuda como marca del maestro, con un suspense que se puede mascar, una tensión sexual que se corta en el ambiente y un romanticismo que por momentos se convierte en rechazo y odio hacia ambos personajes, con los que finalmente acabas reconciliado (al menos en parte), pero que durante la película no acabas de aprobar ninguna de las…

Let me start by saying that I very much enjoyed 'Marnie', it may fall short of being among Hitch's greatest achievements in cinema, but it still bares all the hallmarks that can be regarded as classic Hitchcock. The one thing this movie does signify for me however, is that it shows the signs of a director that's teetering on the verge of being outdated, the qualities that once defined his work and set it apart as 'cutting edge', are now sadly holding him back. Dare I say it...it appears a little bit stale, so many elements appear to be very old fashioned, it may have been made in the mid sixties, but in filmic terms, it feels like we're back…

As good as the titular character of Marnie is, there's something off about this film. Everything is just a little too out of sync from the story to the performances to the effects to production design. There's the sense of a rushed production with everything feeling breathlessly thrown out before it's quite ready to be displayed and put together.

For example, an element of the film involves Marnie being violently disturbed by the colour red. Every time she sees it, she has a comically violent reaction with a comically over the top effect thrown over the top of it. But there's a scene where Marnie is in a library surrounded by bright red books and she has no reaction. Is…