Marnie (1964)

In terms of psychological power and innovative visual techniques, MARNIE ranks alongside VERTIGO and PSYCHO as one of Alfred Hitchcock's most exceptional films, though it is less well known than these classics. This thriller, based on a best-selling novel by Wilson Graham, revolves around a pathological liar and compulsive thief (Tippi Hedren) who is befriended by her latest victim, Mark Rutland (Sean Connery). The core of the story concerns a wealthy man who marries a beautiful woman who steals from his business. Despite his sincere love, dashing looks, and wealth, some deep-seated neurosis makes her emotionally...
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inaccessible, causing him to search her past for an explanation. This is Connery's American film debut, and he portrays his character's fascination with Marnie with a conviction that allows the psychological turmoil of the young woman to emerge. Hedren's performance as the deeply conflicted and emotionally scarred woman walks the fine line favored by Hitchcock, balanced between an icy sexuality and emotional fragility. The director wants to show the audience Marnie's world and fears, so he uses a range of innovative visual techniques--including awkward rear projections, flashes of color, and a menacing atmosphere of storms--to convey her troubled state of mind. MARNIE is one of Hitchcock's most underrated and underappreciated films.
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De kleptomane Marnie solliciteert voor een baan bij Rutland & Co. Mark herkent haar onmiddellijk als de vrouw die tienduizend dollar stal uit de safe van een vennoot. Hij voelt zich echter tot haar aangetrokken en neemt haar in dienst. Marnie wacht geduldig af maar wanneer het ideale moment zich voordoet maakt ze prompt de safe van Rutland leeg en verdwijnt naar haar afgelegen ranch. Maar Mark is haar achterna gereisd en vraagt zijn geld terug. Hij beseft dat hij twee mogelijkheden heeft: Marnie voor de rechter dagen of met haar trouwen. Hij stapt met haar in het huwelijksbootje maar komt vrij snel tot de ontdekk...
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ing dat er meer mis is met Marnie.
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Condemned as being a "disappointing" and "unworthy" Alfred Hitchcock effort at the time of its release, Marnie has since grown in stature; it is still considered a lesser Hitchcock, but a fascinating one. Tippi Hedren plays Marnie, a compulsive thief who cannot stand to be touched by any man. She also goes bonkers over the sight of the color red. Her new boss, Mark Rutland (Sean Connery) is intrigued by Marnie -- to such an extent that he blackmails her into marriage when he stumbles onto her breaking into his safe. Rutland is in his own way as "sick" as his wife because of his fetishist desire to cohabit with a ...
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thief. After innumerable plot twists and turns, Marnie is "cured" by a facile but mesmerizing flashback sequence involving her ex-hooker mother (Louise Latham). Among the critical carps aimed at Marnie was the complaint that the studio-bound sets -- particularly the waterfront locale where the film ends -- were tacky and artificial; curiously, this seeming "carelessness" adds to the queasy, off-setting mood that Hitchcock endeavored to sustain. Even when the direction seems to falter, the film is buoyed by the driving musical score of Bernard Herrmann (his last for Hitchcock). Among the supporting actors in Marnie are Mariette Hartley as a secretary and Bruce Dern as a sailor; twelve years later, Dern would star in Hitchcock's final film, Family Plot.
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