Viewing the movie again after a break of 43 years, I know now why it upset me so much back in the early '60's. I learned, by watching the Extras section, that Hitchcock insisted on including the honeymoon rape scene between the husband and the clearly emotionally damaged wife. Hitchcock was never known to respect or like women. He obviously didn't "get" what was wrong about that scene in the context of the plot. The writer who refused to include the scene DID get it, but was fired immediately by Hitchcock.
Connery was still finding his voice back then - he had just come out of Dr. No and had become a star even before Goldfinger, the Bond movie that became - if you forgive the pun - the gold standard of 007 movies. Tippi Hendren shows her distress clearly, and that mars her performance. Having said that, it is one of the most enjoyable Hitchcock movies of that time.
This is a 1964 psychological thriller directed by Alfred Hitchcock, based on the 1961 novel of the same name by Winston Graham.
Although the special effects with matte paintings and back projection look cheap and unconvincing, it is a profoundly suspensful and fascinating film.
But you need a lot of suspension of disbelief.
First of all, nobody would want to marry such a compulsive liar and thief as Marnie.
Maybe you would, but I won't.
During his lengthy career, Hitchcock directed very few turkeys. This is one of them.
Marnie is (without question) one of director Alfred Hitchcock's most overlooked (watch it to see why) and, perhaps, cheesiest films of his career. ~~~ Released in 1964 (just one year after The Birds), Marnie, a psychologically crass and somewhat messy Thriller, would mark the last time that a blond would have a central role in a Hitchcock film. ~~~ Marnie's seemingly complex (but really very shallow) story contains such characteristically obsessive themes as unnatural fears (this time of thunderstorms and the color red). As well, sexual frigidity, repressed memories, a gross mistrust of all men, and kleptomania, are all thrown into the mix for good measure. ~~~ The reason behind the title character's totally fukked-up behavior is soon revealed right after she meets, and then marries (on yet another senseless whim) Mark Rutland (who literally has to rape her on their wedding night just to get some nookie), played by a very youthful and virile-looking Sean Connery. ~~~ And - Is Marnie one of Hitchcock's masterpieces? No, not on your life, it isn't! ~~~ And, with that said, let's face it - In the years that subsequently followed the release of Marnie, Hitchcock's films would begin to noticeably deteriorate in quality and style as "The Master of Suspense" gradually lost his firm grip on a craft that once so rightfully awarded him as being one of movie-history's greatest directors of all-time.
I'm giving it a rating of 2 1/2 stars just for Sean Connery. For his acting and for being in the prime of his appearance, pre-toup. (So shallow, I know). If you watch "The Girl", based on Tippi Hedren's relationship with Alfred Hitchcock, apparently Alfred told Sean Connery that he would trade it all (notoriety and money) and give anything, if he could be as handsome (as he WAS). No kidding!!!
It kills me to put down anything from Hitchcock, but there's no getting around it with this debacle. The story is absurd. Sean Connery plays a handsome, filthy rich c.e.o. who has it all, and can have whatever or whomever he wants. Even his dead wife's sister was drooling all over him. He opts for Marnie. Granted, Tippi Hedren was a hottie. A hottie with HUGE baggage. First and foremost, she's a kleptomaniac. Secondly, she's a misandristic iceberg. A whackjob who steals his money and is repulsed by his advances. Minor issues the "old boy" figures he can "fix" through psycho-analyzation. Are you for real? Give me a break, "old boy". Marnie should've been committed or incarcerated. Period. Connery's infatuation with that doorknob was completely implausible and totally preposterous. On a positive note, Bernard Herrmann's score was excellent.
A Hitchcock classic that keeps you guessing (despite various clues) until very close to the end about what is driving Hedren's character.
This is a classic Hitchcock film.
Marnie Edgar (to Mark Rutland): "You Freud... me Jane?"
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