Critic Consensus: A coolly constructed mystery revolving around a character who's inscrutable to a fault, Marnie finds Hitchcock luring audiences deeper into the dark.
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as Marnie Edgar
as Mark Rutland
as Lil Mainwaring
as Sidney Strutt
as Bernice Edgar
as Cousin Bob
as Man at Track
as Susan Clabon
as Mr. Rutland
as First Detective
as Sam Ward
as Mrs. Turpin
as Mrs. Strutt
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Critic Reviews for Marnie
Hitchcock's elegant cinematic style, evident here and there, seems wasted in a melange of banal dialogue, obtrusively phony process shots, and a plot that congeals more often than it thickens.
Hitchcock was criticised for bring shallow psychology into the film (Hedren's character is afraid of the colour red) but some of their exchanges - the film was based on a novel by Winston Graham - are sharp and droll.
Universally despised on its first release, Marnie remains one of Alfred Hitchcock's greatest and darkest achievements.
Marnie is the character study of a thief and a liar, but what makes her tick remains clouded even after a climax reckoned to be shocking but somewhat missing its point.
Audience Reviews for Marnie
One of Hitchcock's later films, this has the beginnings of the psychologically disturbed young woman genre, surrounding one woman tormented by something she can't really remember. This was also used as a plot device in the very famous made-for-TV movie "Sibyl" and later horror films, but is used here to fuel the story of an unloved and criminally insane young woman. Marnie herself is a very interesting character, because instead of being marred by her past and becoming a timid young thing, she becomes a kleptomaniac, a rogue thief, and a sly underdog compared to Sean Connery, who arrives to calm her memories and make her whole once more. Though she is obviously a repressed character, both cunningly criminal and flawed, she is not shown as vulnerable. Instead of being truly empathetic to Marnie as a character, the film allows the character of Mark to swoop in and become her savior in a matter of minutes while also proving to be her jailer, and also her salvation. While it is true that Marnie is, again, repressed, Mark acts as a repressive force himself. He gives her a home and money, which he believes that she steals for her own survival, and acts as if he is doing her a service, while blackmailing her into marriage. He goes go on to almost rape her, hits her, and threatens her with police action and more violence. Mark also helps her confront her repressed demons, eventually becoming her love interest. By eliminating a psychotherapist from the book and replacing them with Mark, there is a lack of balance to their "relationship." Because of the lessening of characters from the book to the film, it becomes much more pointed a narrative and loses any dynamism, becoming a cretinous love story. The only relationship explored with any affinity, and shows an empathy towards Marnie's plight, is between her and her mother. Their relationship is portrayed as an embittered and loathsome one, full of lies and without the caring a mother should exhibit. That proves to be the best aspect of the film and somewhat of its saving grace, if you can get past the Neanderthal portrayal of Mark.
This movie is decent. I definitely wouldn't consider it one of Hitchcocks best films....
Hitch considers warped feminine mystique while entertaining his own warped sensibilities (naturally, and why not? ... his are okay, yah?) in this never boring look at a soul pulled back from the cliff of the lost by the hunter/warden/lover? (Sean Connery, brooding respectable charisma). Tippi is Hitch's willing victim again, and charming at it.
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