Marnie-1964

Director Alfred Hitchcock

Starring Sean Connery, Tippi Hedren

Scott’s Review #180

Reviewed October 4, 2014

Grade: A

When evaluating a myriad of Alfred Hitchcock films,  Marnie (1964) certainly stands as one of the more complicated of his films, and in recent years has earned higher praise than at the time of release- a la Vertigo (1958).

It contains one of the most complex and psychological Hitchcock characters of all time and is as much a character study as a psychological thriller.

Tippi Hedren stars as Marnie Edgar, a troubled young woman who travels from one financial company to another using a false identity and her good looks to insinuate her way into a clerical job, without references- she then, over time, steals thousands from the companies when her trust is gained.

Eventually, she is caught by Mark Rutland, a handsome, wealthy widower and a client of one of the firms, played by Sean Connery. Infatuated with Marnie, he strikes a deal with her- marry him and he will not turn her over to the police.

Marnie gives most of her stolen money to her crippled mother, Bernice, in Baltimore- played by Louise Latham.

Why Bernice is crippled, avoids affection with Marnie, and why Marnie despises most men and is terrified of the color red make up the film’s mysterious nature. Diane Baker is compelling as Lil, the snoop, sister-in-law to Mark, and somewhat nemesis of Marnie.

The film features three scenes I am enamored with each time I watch- in one scene, Marnie hides and waits in the bathroom until all the employees have gone home for the night; she carefully steals money from her employer’s safe and prepares to leave- suddenly she notices an unaware cleaning woman with her back to Marnie yet blocking the exit.

How will Marnie escape unnoticed? The surprise in this scene is wonderful. Hitchcock plays the scene with no music, which adds to the level of tension- brilliant.

In an emotional scene later in the film, Marnie’s horse, Forio, is injured and a sobbing Marnie must choose between killing her beloved friend or letting him suffer until a veterinarian can be summoned.

It is a heart-wrenching scene.

The third scene takes place at a racetrack as Marnie and Mark are enjoying one of their first dates together before Mark learns the truth about Marnie- the date is ruined when a former victimized employer of Marnie’s recognizes and makes accusations towards her.

Marnie turns from sweet girl to ice queen seamlessly.

A huge controversial aspect of the film is that, while not shown, it is heavily implied that Mark rapes Marnie on their honeymoon. The next morning Marnie attempts suicide but is rescued by Mark.

This scene had to have been filmed carefully to not make Mark hated. Perhaps saving Marnie the next morning lessens what he did the night before in the eyes of the audience? This is open to debate.

Hedren is fantastic at showing the complexities of the character of Marnie throughout the entire film and does a wonderful job in a difficult role.

As excellent as Hedren is (and she is amazing), I have difficulty buying her as a poor, icy criminal and this comes up each time I view the film. Could this be a result of having identified Hedren as the sophisticated, glamorous, socialite in The Birds made a year earlier so many times? This is quite possibly so.

During the filming of Marnie, the set was reportedly fraught with tension, mainly between Hedren and Hitchcock, who refused to speak with each other throughout filming. This may have added to the overall tension the film has and Hedren appears anxious throughout.

Could this be art imitating life? As the ending nears, Marnie and Mark align together and form a team as they try to avoid the police altogether- Mark more or less becomes an accomplice.

The final reveal seems rushed, takes place mostly in flashbacks, and wraps up quickly as Marnie has blocked much of her childhood from her memory, which seems far-fetched.

Still, Marnie (1964) is a complex, psychological classic Hitchcock film from his heyday.