Hitchcock's last great film
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...
Definitive Hitch
"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...
Hitchcock's Marnie on DVD
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...
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