This thriller, based on a best-selling novel by Wilson Graham, revolves around Marnie (Tippi Hedren), a pathological liar and compulsive thief who is befriended by her latest victim, Mark Rutland (Sean Connery). Despite his sincere love, dashing looks, and wealth, some deep-seated neurosis makes her emotionally inaccessible, .. Read more
| Starring | Tippi Hedren, Sean Connery, Diane Baker, Bruce Dern |
|---|---|
| Director | Alfred Hitchcock |
| Genres | Thriller |
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Rumours abounded that Grace Kelly would be making a comeback, before this adaptation of Winston Graham's novel went into production. Her icy aloofness would have been perfect for this tale of kleptomania, frigidity, fetishism and suppressed anxiety, and Tippi Hedren was considered no substitute by contemporary critics, who, spoiled by Psycho and The Birds, gave the picture something of a lashing. Calmer reflection has established this as one of Hitchcock's more interesting misfires. The conspicuously artificial set design and back projection may not suit all tastes, but watch for Robert Burks's suave colour photography and the mental duel between a man (a restrained Sean Connery) turned on by crime and a woman who steals to forget.
Psychodrama with background crime and suspense, lethargically handled by the old master, who alone knows what he saw in it in the first place, as this heroine does not even have fire under her ice. The production is curiously artificial in many ways, from
Often criticised for its lack of suspense - a quality that underlines its similarity to Vertigo - this is neither... read more on Time Out
This is a tense, exciting and very involving thriller which tells the story of Marnie, played by Tippi Hendren (Melanie Griffiths' mother)- a mysterious young woman with phobias about men and the colour red, and all sorts of other issues which Mark Rutland (played by the very sexy young Sean Connery) is deterimined to unravel the reasons behind. From the intriguing beginning to the shocking climax, this Alfred Hitchcock classic will keep you transfixed.
Many, many changes of mood, expression and tone of voice in Tippi Hedren's best ever role show just how well she was cast for this highly intense psychological study. Connery controls her, with benign intentions, though could perhaps have been a little more forecful in places. Surprisingly, the film's technical production and cinematography seems less competent than earlier films such as North by Northwest - but enjoys a level of acting that is rarely acheived these days.
Completely implausible Aldred Hitchcock film from 1964 about a crazy woman, Marnie, who feels she has to constantly steal from her employers. This is to do with some past event in her troubled childhood, which also stops her being touched by men. The plot is obviously more technical but isnt worth explaining as there are holes in it a bus could perform a 3-point turn in.
The first hour opens promisingly, however as soon as Sean Connery marries the mad Marnie any sense of reality goes out the window. Marine cant be touched by men, however, for the first half of the film she is constantly touched by the Sean Connery character. This is explained later on by her as simply putting up with it because she had to. She steals from Connery, hates him and his family, tries to run away from him and does not want to sleep with him yet, he still stays with her for some unknown reason.
Added to the preposterous plot are the set designs. The whole film seems to have been shot in studios on sound stages, meaning every outdoor scene looks very contrived and unrealistic, with expressionist style back screens that obviously look like paintings. More low production values come to mind with a mechanical horse, as well as a load of completely out of place accents such as Connerys Glasgow drawl.
However, my main problem with the film is the strange martial rape scene in which the audience is supposed to not mind Connery raping Marnie. Moreover, we are urged to forgive him and let the story continue with him being the hero, charged with sorting Marnie out and her ridiculous problems.
Although the plot and sets may be very ropy indeed, the acting, especially Sean Connerys is excellent and Bernard Herrmanns score is impeccable. Hitchcocks direction is great, such as the typical Hitchcockian scene where Marnie is stealing money from her employers safe and we can see a cleaning lady approaching. The audience is in on something the character is not and this is repeated again in the following sequence to great affect.
A classic by alfred hitchcock.
The story has lots of twists and paths to follow. It changed from a usual thriller to a psychological one.
It tells the story of Marnie who has issues with her mother and men. She doesn't understand why this is until she meets Sean Connery who makes a bid to help save her.
This is a tense, exciting and very involving thriller which tells the story of Marnie, played by Tippi Hendren (Melanie Griffiths' mother)- a mysterious young woman with phobias about men and the colour red, and all sorts of other issues which Mark Rutland (played by the very sexy young Sean Connery) is deterimined to unravel the reasons behind. From the intriguing beginning to the shocking climax, this Alfred Hitchcock classic will keep you transfixed.
Many, many changes of mood, expression and tone of voice in Tippi Hedren's best ever role show just how well she was cast for this highly intense psychological study. Connery controls her, with benign intentions, though could perhaps have been a little more forecful in places. Surprisingly, the film's technical production and cinematography seems less competent than earlier films such as North by Northwest - but enjoys a level of acting that is rarely acheived these days.
Completely implausible Aldred Hitchcock film from 1964 about a crazy woman, Marnie, who feels she has to constantly steal from her employers. This is to do with some past event in her troubled childhood, which also stops her being touched by men. The plot is obviously more technical but isnt worth explaining as there are holes in it a bus could perform a 3-point turn in.
The first hour opens promisingly, however as soon as Sean Connery marries the mad Marnie any sense of reality goes out the window. Marine cant be touched by men, however, for the first half of the film she is constantly touched by the Sean Connery character. This is explained later on by her as simply putting up with it because she had to. She steals from Connery, hates him and his family, tries to run away from him and does not want to sleep with him yet, he still stays with her for some unknown reason.
Added to the preposterous plot are the set designs. The whole film seems to have been shot in studios on sound stages, meaning every outdoor scene looks very contrived and unrealistic, with expressionist style back screens that obviously look like paintings. More low production values come to mind with a mechanical horse, as well as a load of completely out of place accents such as Connerys Glasgow drawl.
However, my main problem with the film is the strange martial rape scene in which the audience is supposed to not mind Connery raping Marnie. Moreover, we are urged to forgive him and let the story continue with him being the hero, charged with sorting Marnie out and her ridiculous problems.
Although the plot and sets may be very ropy indeed, the acting, especially Sean Connerys is excellent and Bernard Herrmanns score is impeccable. Hitchcocks direction is great, such as the typical Hitchcockian scene where Marnie is stealing money from her employers safe and we can see a cleaning lady approaching. The audience is in on something the character is not and this is repeated again in the following sequence to great affect.
This may be yet another formulaic Hitchcock film, but he really saw something in his current muse at the time, Tippi Hedren. More famous for her part in 'The Birds', here Tippi really gets a chance to shine. A very underrated actress, this is worth it to see what could have been of Hollywood's greatest lost actress.
The story has lots of twists and paths to follow. It changed from a usual thriller to a psychological one.
It tells the story of Marnie who has issues with her mother and men. She doesn't understand why this is until she meets Sean Connery who makes a bid to help save her.
A classic by alfred hitchcock.
Marnie, through the entire 130 minutes fails to progress beyond mediocrity. Even bearing in mind that the film was directed in the early 60's one would expect better from the Hitchcock stable. Some of the films blatant loopholes include Marnie's selective fear of the red - she is only afraid when the director wants her to be afraid [for the one's with watchful eyes, she is never once scared to enter her mother's house or her mother's neighbourhood which are both adequately covered with red brick walls]. The film also purports to sympathise with Sean Connery's blackmail of Marnie, coerced marriage and marital rape. The special effects are largely unconvincing.
Probably worth a watch, but it definitely won't keep you glued to the edge of your seat.
It has been years since I saw this film and I had forgotten how good it was! As a Hitchcock fan it was certainly one of his best
A really good film. We are trying to catch up on all the real classic films we have missed and this is well worth a view.
Great performances by Miss Hedren and Sean Connery. I love this film.
Rumours abounded that Grace Kelly would be making a comeback, before this adaptation of Winston Graham's novel went into production. Her icy aloofness would have been perfect for this tale of kleptomania, frigidity, fetishism and suppressed anxiety, and Tippi Hedren was considered no substitute by contemporary critics, who, spoiled by Psycho and The Birds, gave the picture something of a lashing. Calmer reflection has established this as one of Hitchcock's more interesting misfires. The conspicuously artificial set design and back projection may not suit all tastes, but watch for Robert Burks's suave colour photography and the mental duel between a man (a restrained Sean Connery) turned on by crime and a woman who steals to forget.
Psychodrama with background crime and suspense, lethargically handled by the old master, who alone knows what he saw in it in the first place, as this heroine does not even have fire under her ice. The production is curiously artificial in many ways, from
Often criticised for its lack of suspense - a quality that underlines its similarity to Vertigo - this is neither... read more on Time Out