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Marnie
Marnie
Actors: Tippi Hedren, Sean Connery, Diane Baker, Martin Gabel, Louise Latham
Director: Alfred Hitchcock
Genres: Mystery & Suspense
PG     2000     2hr 10min

You could call this one Hoot Along with Hitch. With the possible exceptions of Topaz and Family Plot, this is Hitchcock's cheesiest movie, visually and psychologically crass in comparison with a peak achievement like Ver...  more »

     

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Movie Details

Actors: Tippi Hedren, Sean Connery, Diane Baker, Martin Gabel, Louise Latham
Director: Alfred Hitchcock
Creators: Robert Burks, Alfred Hitchcock, George Tomasini, Jay Presson Allen, Winston Graham
Genres: Mystery & Suspense
Sub-Genres: Mystery & Suspense
Studio: Universal Studios
Format: DVD - Color,Full Screen,Widescreen,Anamorphic - Closed-captioned
DVD Release Date: 05/30/2000
Original Release Date: 07/22/1964
Theatrical Release Date: 07/22/1964
Release Year: 2000
Run Time: 2hr 10min
Screens: Color,Full Screen,Widescreen,Anamorphic
Number of Discs: 1
SwapaDVD Credits: 1
Total Copies: 0
Members Wishing: 18
MPAA Rating: PG (Parental Guidance Suggested)
Languages: English, French
See Also:

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Movie Reviews

Hitchcock's Marnie on DVD
gobirds2 | New England | 07/29/2000
(5 out of 5 stars)

"This is one of Hitchcock's masterpieces. It has been highly underrated and misunderstood by viewers and many critics alike. It is not a straightforward narrative as it deals with the compulsive and obsessive nature of its two main characters (Tippi Hedren and Sean Connery). The viewer has to become absorbed and drawn into the film's sights and sounds. The viewer has to elicit from what is seen and heard to fathom the motivations of the film's two main characters. Some of its images are just unforgettable and disturbingly haunting. Sound too plays an important part in the viewer's experience. In accompaniment is Bernard Herrmann's low key score. I watched this film again several times over. Herrmann's score is always present, yet never intrusive. I used to think this score was somewhat repetitive, but it is quite diverse. It complements the images in such a way that it almost evokes some hidden and suppressed experience from the viewer that creates an emotional bond with the main title character of the film. I found the DVD print to be of exceptional quality and most pleasing in the wide-screen presentation (a prerequisite in this format). The supplemental material on the disc was interesting and worthwhile, especially the discussion on the evolution of the film from print to image. I highly recommend this DVD and was surprised to see it released in this format prior to other Hitchcock films."
Hitchcock's last great film
06/08/1999
(5 out of 5 stars)

"This was a critical fiasco when it came out in the early Sixties, and Hedren was widely blamed for the film's failure. Most film critics now see it as one of Hitchcock's greatest masterpieces from his late mature period, however--on a par with VERTIGO, PSYCHO, and THE BIRDS.This is not a film for those new to Hitchcock or his themes: the lack of a typical mystery or suspense plot may seem surprising for those expecting Hitchcock's more obvious bag of tricks. But as an in-depth character study of a truly unhappy woman and the (just as pathological) man who loves her, this one is every bit as riveting and fascinating and anything Hitchcock ever did--and when Marnie enters the Rutland mansion in her riding habit wielding a pistol after the foxhunting sequence you'll be at the edge of your seat to see what she'll do.The linchpin of the film is Hedren, who gives what must be the most underrated performance in Hitchcock's oeuvre--and clearly one of the very finest. Her refusal to warm up--either to Connery's character or to audiences--has made it a difficult performance for many to grasp, but those who dismiss it are greatly mistaken. Her joy when Connery brings her beloved horse to the mansion, her faltering childlike tones during the film's denouement, and her lightning-fast changes of mood during the great word-association secene show how truly talented and stunning this actress really is. You have only to see her incredible facial expression during the hunting scene when the hounds are ripping up the fox to shreds (and Marnie's aristocratic friends are laughing at the spectacle) to appreciate what a complex talent Hedren is, and how thoroughly Hollywood wasted its opportunities to use her well."
Definitive Hitch
L. Shirley | fountain valley, ca United States | 04/29/2006
(5 out of 5 stars)

""Marnie" is probably one of the best examples of Hitchcock's work that epitomizes this great director's style. Even if you didn't know this was a Hitch film, if you know his style, by 5 minutes in you would recognize this as definitive Hitch. The attention that is paid to every tell-tale detail, the camera angles, the way he has of drawing you into every word of dialouge of a captivating story and always intriguing characters,... and the way only Hitch can make a kiss more provocative than any R rated film of today, will cast the Hitch spell on you once more.

"Marnie" is a psychological drama focusing on a deeply disturbed woman's compulsive behavior. She's a thief and a liar, and is getting away with it until she hit a road block in one Mark Rutland. Hired by Mark's compay as a payroll clerk, we already see the wheels turning in Marnie's unstable mind. Her plans to rob the Rutland vault go as planned, except for one hitch(excuse the pun), Mark is on to her and stops her dead in her tracks. He could easily turn her in, but Mark is attracted to this troubled woman, plans to delve into her psyche, and so what else could he do but marry her to keep her out of trouble.

Mark finds that Marnie's troubles go very deep. Not only is she a thief, but has a horrible fear of being touched by a man, and he forms an obsession of his own. That of trying to cure his lovely but psychologically ill wife. As Marnie herself puts it to him..."You've got a pathological fix on a woman who is not only an admitted criminal, but who screams if you come near her!"...Yup, lots of work to be done here to unlock the sins of the past. And it's done in only a way that Hitch can do it.

Tippi Hedren and Sean Connery are Marnie and Mark, and under the superb direction of the master, turn in impeccable performances. Diane Baker adds her talents as the meddling and suspicious sister-in-law, be sure to watch for Bruce Dern, and Bernard Herrmann's score as always adds the perfect haunting touch to this twisted tale.

Looking for Hitch...early on(about 5 min in), looking mighty suspicious himself while exiting a hotel room.

Highly recommended for the Hitch fan.

Thanks and enjoy.......Laurie

more Hitch stuff:
Hitchcock's Notebooks: An Authorized and Illustrated Look Inside the C

Alfred Hitchcock Double Feature Volume One - Sabotage / The Man Who Knew Too Much [VHS]

Alfred Hitchcock Presents (Poison, The Perfect Crime, Dip in the Pool, One More Mile to Go)
"
"Mother, Mother, I Am Ill"
Eileen Corder | West Coast | 01/06/2006
(5 out of 5 stars)

"Marnie is deliciously chilly, and like the children sing at the beginning, Margaret Edgar is ill. But Marnie is more than that. She's defiant, independent, resourceful. She's a survivor and we cannot help but love her for that. Granted, her psyche is like jambalaya on a bad day (and I won't spoil the ending for you), but she does experience moments of pure happiness when she rides her horse, Forio. Not ten minutes into the film, her bad self washed down the drain, there she is with her hair loose, a youthful expression of relief on her face, riding Forio off into the distance. Yes, this is her fantasy world, but she's truly happy there. Unfortunately, and all too soon, Forio turns into a yellow cab which deposits her back where it all began.

Marnie comes from the lower class, born of a single mother, growing up during the war in a poor neighborhood on the waterfront in Baltimore. What were her alternatives? Through the film we see them. She could be a prostitute like her broken mother. She could be a secretary like the chatty, loyal gals in the washroom after work at Rutland's. In some wild scenario she could marry into money. Or...she could just take what she thinks she deserves. Certainly one or two of those wealthy folks at the fox hunt must have gotten their money in less than legal ways, considering how Hitchcock makes them look as they laugh at an animal being torn to bits by the hounds. Does Mark Rutland even know that an old, shabbily dressed and tired washer woman scrubs his floors every night? When Marnie robs the Rutland safe, we see, in a split screen, a well dressed Marnie on the right and the poor washer woman on the left. Marnie risks her precious freedom to avoid what she fears would be a dull and oppressive life. This scene embodies that split in her, drudgery or crime, and not much in between.

Along with Hitchcock's social commentary is extensive play on the prey vs. predator/territorialism/survival of the fittest theme. Color symbolism (reds and yellows), water imagery, and the endless wordplay and double-entendres of Jay Allen's (The Prime of Miss Jean Brodie and Cabaret) terrific screenplay make Marnie a joy to watch again and again. Both Tippi Hedren and Sean Connery are equals in their command of the screen. Louise Latham as Marnie's mother heads an excellent supporting cast. One of Hitchcock's most complex films.




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