Marnie

1964

Action / Crime / Drama / Mystery / Romance / Thriller

Synopsis


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Cast

Sean Connery as Mark Rutland
Alfred Hitchcock as Man Leaving Hotel Room
Tippi Hedren as Marnie Edgar
Bruce Dern as Sailor
720p
900.26 MB
1280*720
English
Approved
23.976 fps
2hr 10 min
P/S 4 / 19

Movie Reviews

Reviewed by Righty-Sock ([email protected]) 7 / 10

A memorable mystery drama for the way in which Hitchcock squeezed and twisted suspense out of the simplest materials…

The childhood roots of Marnie's problem were certainly the fulcrum of the plot; but they were also a vital strand in her character, the main force of her motivation…

Marnie Edgar (Tippi Hedren) is a psychologically scarred gray-suited serial thief who would take a job in an office, win liking and trust by her good looks, manners and work; then steal the safe and move to another part of the country, changing her look, her name, and her identity…

This what she does when she went to work for Mark Rutland (Sean Connery), a wealthy sadist businessman; but he replaced the stolen money, tracked her down, and blackmailed her with two alternatives: to go to jail or to marry him…

Only, besides Marnie's traumas and aftermaths, she was cool, desperately detached, and couldn't find in herself any affection for any living thing except fondness for horses… Sexually, she was extremely cold, and her marriage was not consummated... And she was continually afraid of thunderstorms and couldn't handle the red color…

I don't want to spoil some of other brilliant little touches, but Marnie had always said she was an orphan, and Mark tracked down her icy mother (Louise Latham), and brought the two face to face… There was a beautifully acted scene here when the two met up again and Bernice who even now could show no more affection to her daughter than Marnie could to her husband…

Reviewed by BumpyRide 8 / 10

"You're aching my leg, Marnie"

Add me to the group of viewers who like this film. Yes, it is long and heavy on dialog, but visually stunning, and Bernard Herrmann's music is rich and vibrant. The best score he has ever composed.

For me, I have favorite scenes in the movie, for example the opening shot of a woman carrying a yellow purse. From there we go to her hotel room and watch as she transforms herself into another person. Old clothes get discarded in a train locker and the key gently kicked down a grate. All of this is done with no words, but wonderful camera angles, and accompanied by a great musical score.

The office scene where Marnie waits in the women's room before robbing the safe. You only hear the voices of her co-workers saying good night for the weekend. Again, this entire scene is done visually, only this time with a split screen showing Marnie and the cleaning lady simultaneously, as if we are watching a play. Only when the shoe falls from her coat pocket do we know that the cleaning woman is hard of hearing and the scene is now concluded.

There are several vignettes such as these that make the movie interesting. Yes, the riding scenes are fake looking, and I think it was just a case where Alfred just didn't quite keep up with technology. But when you think of Marnie, this is the last, true Alfred Hitchcock movie we will ever see. From then on, we never again see a grand production with high production values as we have here.

Yes it has flaws, and the acting may not be up to par at times, but there are worthwhile aspects that make this movie a classic in the Hitchcock canon.

Reviewed by jay_thompson680 ([email protected]) 5 / 10

Freud, Hitchcock, Sex and Suspense


Hitchcock's Marnie was a critical and financial failure when released in 1964. Some decades afterwards, the film was 'rediscovered' by film theorists fascinated by its engagement with issues such as Freudian psychoanalysis, sexual abuse, gender roles, trauma, sexual deviance.

The central plot revolves around Marnie, a habitual thief who goes to work for large corporations, steals from her (always male) boss, then flees - dying her hair, changing her name and then starting over again.

One employer, Mark Rutland, recognises her from one of her previous companies. When she robs him, he pursues and marries her. Playing Freud to her Jane, he alternates between trying to get her into bed and determining the link between her thefts and her fear of sex, thunder storms, the colour red and men.

Tippi Hedren is ideally suited for the role of Marnie; her trembling-but-firm voice and impassive, doll-like face give her the look and feel of a tough-yet-vulnerable child-woman, lost in a nightmare world. Sean Connery is terrific as

Rutland, and the interaction between his character and Marnie suggests (at times) a slight subversion of gender roles. She may be troubled, but she won't easily fall under his net (he likens her to a wild animal) - and will tell him!

Throughout the film, there is a brilliant use of colour, and some memorably dreamlike shots: the opening of Marnie (her face unseen) with black hair, walking as if in a daze along a railway platform and through a hotel; the hand banging against a window, alarming the sleeping Marnie; the flashback to the woman's troubled past.

Unfortunately - and other reviewers on IMDb have argued this - the film's editing is often lazy. Some scenes go on for far too long, and are way too chatty. More show and less tell, I say! There are those fake backdrops. They can be seen to suggest Marnie's detachment from the world (as Hitch once argued), but why couldn't he include them with every shot of her? Laziness, again?

Then there's Lil, the sister of Mark's dead wife. Diane Baker gives a terrific performance, and there is the suggestion that Lil's attraction to her former brother-in-law might be deceptive... it could be Marnie she's after. Just check out the look she gives Marnie when they first meet and her remark ('Who's that Dish'?) But the lesbian subtext is never explored. Lil's character is never developed beyond a woman who alternates between smiling and scowling at Marnie, and then disappearing before the dramatic 'final confession'.

Otherwise, a brave film, elegant to look at, and rich with issues for the film theorist AND the 'casual' viewer to explore.

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