Customer Reviews

Marnie [VHS]

5 star:		(66)
4 star:		(47)
3 star:		(8)
2 star:		(9)
1 star:		(7)

 

 

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.

"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)

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.

A perfect companion piece for those who enjoyed Vertigo, and if you consider Vertigo among Hitchcock's best, you will probably enjoy this very similar "case study" of a film.

As in the earlier film, Marnie features a plot-heavy set-up (which is involving but not quite as magical as Vertigo's) which gives way to the second part of the film, the "conversion". Instead of James Stewart trying to makeover Kim Novak, we have Sean Connery trying to solve Tippi Hedren's psychological problems.

What makes this variation so noteworthy is that both the "doctor" and his "patient" have problems. Consider the motivations (and methods) of Connery's character, and you'll find someone about as messed up as Scottie from Vertigo.

As for the filmmaking itself, the color fades used so successfully in Vertigo are employed again to great effect. There are some amazing compositional motifs in this film; see how Hitchcock makes a claustrophobic location like a cruise ship seem wide-open & empty. Do you ever see any other passengers?

This well-acted film is at times romantic, funny, suspenseful, and sad. The themes touched on here are pretty ahead of their time (and like Vertigo pretty twisted for its time), and the psychobabble isn't as cringe-inducing as in Psycho or Spellbound. More than meets the eye, and Hitchcock's most underrated gem.

One of the great disappointments of Alfred Hitchcock's career was the failure of Marnie to be the commercial and critical success he had hoped it would be. But some things seem to improve with age, and such is the case with Marnie. It's hard to figure out why this film wasn't immediately well received, especially when it has so many great Hitchcock elements that were winners in the past. Marnie (`Tippi' Hedren), is the portrait of a disturbed young woman who because of some, perhaps, childhood trauma cannot establish healthy relationships with men. Another part of her "psychosis" involves her being a thief as well. After Marnie establishes herself in one job, she robs her employer, changes her look and identity and then moves on to the next. When Marnie takes a job at Mark Rutland's (Sean Connery) Philadelphia, Pennsylvania publishing house (not his insurance company, as per the Amazon.com reviewer), the pattern begins again. Only this time, Connery finds himself drawn to Hedren, wanting to help, but at the same time, finding himself falling in love with her. Connery a student of zoology and human behavior, is intrigued by Hedren's problems and is determined to get to the bottom of her troubles. (This scenario is almost the reverse of Spellbound, where Ingrid Bergman is determined to find out what is causing Gregory Peck to act the way he does.) Connery convinces Hedren to marry him as a way of keeping her out of jail for her crimes (and to determine the psychological reason for her present behavior). That's when the real fun begins. Marnie is much more disturbed than Connery had originally suspected, but he is even more determined than ever to get her the help she needs. Marnie has many scenes that are reminiscent of other Hitchcock classics like Vertigo and the aforementioned Spellbound. When you see Hedren and Connery in the stables at his Philadelphia estate, you can't help but be reminded of Kim Novak and James Stewart in the carriage house scene in Vertigo. Visually, Marnie is a beautiful film. With it's wonderful matte backgrounds, the impeccable wardrobe and grooming of all the players, especially Hedren, who is absolutely stunning; Marnie has that definite Hitchcock polish. The supporting cast is first rate and includes great turns by Diane Baker as Connery's cynical sister-in-law, Louise Latham as Marnie's mother, Martin Gabel as one of Hedren's robbery victims, and Mariette Hartley as Marnie's coworker at Rutland's. The role of the complicated heroine would have been challenging for any actress (it was rumored to have been Grace Kelly's comeback picture), so it is quite remarkable that Hedren in only her second film is able to pull it off with great success. This was not the original reaction when the film was first released, but with time, most critics consider Hedren's performance a winner. Other Hitchcock touches are the great cinematography, set decoration, and that great Bernard Herrmann score. And let's not forget Connery's performance, his first "serious" role after his James Bond success. He's every bit the aristocratic Philadelphia Mainliner, yet there's a tenderness and strength that is very appealing. Marnie, although not the best of Hitchcock, is still a very enjoyable film with much to offer.

Most film historians and composers would agree that Alfred Hitchcock and composer Bernard Herrmann were synonymous with the American Cinema. There is no contemporary team that comes close, except for Steven Spielberg and John Williams. This classic Hitchcock movie with Herrmann's score is so expressive and romantic, you will forget what time period it was filmed. The overall story and relationship between the title character (played by 'Tipp' Hedren), a theif with a disturbed childhood, and Mark (played by Sean Connery), a charming but blackmailing businessman who is bursting with raw sexual energy that is timeless.

Since "Marnie" was made in the early 60's, when movie love themes became increasingly popular, Universal Pictures requested Bernard Herrmann's magnificent score be transformed and adapted into a "pop" love song (though never included in the film). However, a new - lush orchestral vocal rendition exists from Pop, Cabaret recording artist, Michael Poss. The recording is available on SILVER SCREEN SERENADES and has been faithfully arranged and adapted to Herrmann's magnificent original score.

I still believe this film contains the most erotic and classic cinematic kiss between Sean Connery and 'Tippi' Hedren. In a recent interview, 'Tippi' Hedren thought the major reason why Marnie failed at the box office in 1964 was because the subject matter was considered too controversial and way ahead of it's time. Ms. Hedren's portrayal of the "mysteriously cool, icy, calculating blonde" has been studied, even emulated by film acting students around the world. This movie's is a treat to watch!

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.

Marnie is filled with many trademark Hitchcock elements and images such as duality, significant use of the colors yellow and red, intellectural metaphors, swirling vortex, spiral hairstyles, and the quintessential Hitchcock icy blonde (Tippi Hendron). Hitchcock effectively creates the psychological complexity, sexual neurosis, and pathological criminal behavior of Marnie. Once again, as he did in Psycho and Notorious, Hitchcock parlays the crucial role of a domineering mother in this film. Marnie is not a "whodunit" but a "why-is-she-doing-it" type of film. Sean Connery's character, Mark Rutledge, admonishes the audience that we are "not supposed to get it," when he defends his attraction to a thief and a liar (Marnie). His passionate obsession mirrors the one Scotty had for Madeline in Vertigo. Although the search for love, approval and an attempt at emotional closure makes Marnie different from other Hitchcock films, it is still very "Hitchcock" and well worth viewing.

It's always interesting and go back for another look, as one does with all great works. Memory plays tricks. And we all bring something of ourselves to the work. Having been a thief in my time I was struck with this film the first time I saw it many moons ago. Let me assure you, Mr Hitchcock knows the mind of a thief. I've seen this film a number of times and it has continued to grow in affection and stature as an excellent instance of his very best work. The support material, on the making of the film, its casting, how Hitch directs his actors, its genesis, actor's comments, are very informative and in the case of Ms Baker and Ms Latham, quite rivetting. Mr Bernard Hermann of course has a field day, as does Mr Freud. To call this work "cheesie" is a serious misrepresentation of one of Hollywood's finest efforts. A gem.

It is time now to write a review for ''Marnie''. I've watched it six times this year already, twice in January and four times since I bought it about three weeks ago. When a movie is good enough to be watched so many times in succession, it's really a six-star film - but as this reviewing system allows only five, I'll rate it five. The trailer gets five stars of its own.
I will confess that the first time through - much as I found the story interesting - this movie did seem to drag a bit. I kept thinking, half this film is Sean and Tippi sitting in the car - or so it seemed - but the second time, I enjoyed it much more and it didn't drag at all. I started to listen to all the good lines which made the ''endless car scenes'' go driving on by with all swiftness, and each subsequent viewing has been even better.
Various observations: In the credits, it says: Miss Hedren's Hairstyles Designed by Alexandre of Paris, and right below that: Colour by Technicolour. I think that is pretty good. I liked the way that Lil, jealous of Mark's love for Marnie, often appears wearing green, sitting on green couches, or having green lamps behind her. I found Lil's character annoying, but it was a necessary annoyance, I suppose, and I've become relatively used to her by now. I also liked the idea conveyed by Marnie walking along a yellow caution line at a railway station in the beginning of the movie. Strutt is a weirdo and the actor was perfect for the part; I wonder what he looked like without the gross tortoiseshell glasses. There is a scene when Marnie paces back and forth in her room, passing the tall posts of her bed every time, as if she is an animal in a cage. The free association scene was good as well, with a couple good lines, one of the best being, ''You Freud, me Jane?'' Cousin Bob the banker dude was quite the perfect weirdo for the part, and Daddy Rutland was a pretty shallow but friendly personage with his one-track mind focused only on horsesandtea. Marnie had some pretty interesting outfits - two pretty Star-Trekky bathrobes as well as a hat like a fur doughnut. Marnie's mother was good with the Southern accent and the little girl Jessie was even more annoying than Lil.
Oh, and before I forget. People are forever griping about the ''tacky rear projection'' in the riding scenes, the ''obviously fake backgrounds'' of the ship and of Rutlands', and the ''tacky zooming in and out'' in Marnie's final attempt at theft from the safe. Let me point out to you that several other Hitchcock films, regarded by the critics and general Hitchcock-appreciating public, have similar moments. In ''The Birds'', ''To Catch a Thief'', ''Spellbound'', and others, there was some very obvious back projection. Big deal. The general idea of rear projection is to make it look like the person or vehicle on the treadmill is moving. It works every time and looks fake every time, no matter what the movie. Accept it and get over it. And in ''Vertigo'', there was a whole lot of zooming going on in the tower scenes. Was that tacky? I don't think so. The zooming accomplished the purpose in ''Vertigo'' and it does the same in ''Marnie''. So in short I don't think it's right to treat ''Marnie'' as a second-rate film with these arguments as the excuses. I think that's exactly what they are - excuses. I think that the people who say all those things got their glasses mixed up and are simply watching it with tinted glasses over their emotional eyes and a clarifying lens over their critical ones. Well... it's their loss - no one has to like anything, but it would be nice if more people did.
I think this review is becoming too long now so I should stop typing before I think of anything else. See this movie at least twice with an open mind. Be like me, an interested spectator in the passing parade - even if you don't get it.