Category Archives: Sean Connery

1974 Films, Agatha Christie, Albert Finney, Anthony Perkins, Ingrid Bergman, Lauren Bacall, Martin Balsam, Sean Connery, Thriller, Vanessa Redgrave

Murder on the Orient Express-1974

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Murder on the Orient Express-1974

Director Sidney Lumet

Starring Albert Finney, Lauren Bacall, Ingrid Bergman

Scott’s Review #928

Reviewed August 7, 2019

Grade: A-

Based on the 1934 novel of the same name written by famous author Agatha Christie, Murder on the Orient Express (1974) brings the story to the big screen with a robust and eccentric cast of characters all drizzling with suspicion.

The classic whodunit of all whodunits, the film adds a Hollywood flair with rich costumes and an authentic feel to a budget-blasting extravaganza that keeps the audience guessing as to who the killer or killers may be.

The film was recognized with a slew of Oscar nominations that year.

The hero of the film is Hercules Poirot (Albert Finney), a well-respected yet bumbling Belgian detective, who is solicited to solve the mysterious death of a business tycoon aboard the famous and luxurious Orient Express train.

On his way to the train’s destination, he encounters such delicious characters as the glamorous Mrs. Hubbard (Lauren Bacall), the nervous Greta Ohlsson (Ingrid Bergman), and his friend Bianchi (Martin Balsam), the director of the company who owns the enormous vessel.

Many other characters are introduced to the layered story.

As the complicated plot is unraveled, most of the characters have something to hide or a connection to another character or characters.

The fun for the viewer is to live vicariously through Poirot and await the big final reveal after the film that, unless already viewed the film or read the novel, one will not see coming.

With a film of this type, a detective thriller, the audience can be assured of a resolution, like a big murder mystery dinner theater production brought to the big screen.

Formulaic, the film never drags nor feels dull.

Amid the first few minutes of Murder on the Orient Express, the intrigue is unleashed at full-throttle speed leaving one bedazzled and hooked.

The sequence is brilliantly done and thrusts the audience into a compelling back story of plot and the wonderment of what these events have to do with a train pulling out of the Orient.

Quickly edited film clippings of a news story explain the mysterious Long Island, New York abduction and murder of the infant daughter of a famed pilot.

It is suggested that the Orient Express trip embarks from Istanbul, Turkey, and is destined for London. This means that several countries will be included in the trek, creating possibilities for both geographical accompaniments and new cultural experiences which director Sidney Lumet offers generous amounts of.

Moments following the murder, the train has the unfortunate fate of colliding with an avalanche, leaving the passengers in double peril, with a killer on the loose and cabin fever to contend with.

To the compelled viewer this is snug comfort as the atmospheric locales are gorgeous and the thought of a dozen strangers trapped together with so much to hide brings the story to a frenzy.

Who did what to the murder victim is slowly revealed as several red herrings (or are they?) are revealed. Who is the mysterious woman strutting down the corridor shortly before the murder, spotted by Poirot? Is she a staged pawn or merely an innocent victim? Could she be the murderer?

The wonderful part of Murder on the Orient Express is the number of entangled possibilities.

The conclusion of the film turns the thriller into a moralistic story, to its credit. The fact that the murder victim was hateful and diabolical is a key part of the story and makes the viewer wonder if the killer or killers are justified in their actions.

Does the fact that Ratchett was stabbed a dozen times with varying degrees of severity play into the motivation?

A very compelling, and unrecognizable Finney does a fantastic job of carrying the film among such a troupe of good actors.

Murder on the Orient Express (1974) sets out to entertain and succeeds on every level, bringing the book to the silver screen with a fresh interpretation that still honors the intent that Christie had.

Stylistic and thought-provoking, the film has gorgeous costumes, a good story, and fine acting. The knowledge of who the killer is does little to take away any enjoyment that a repeated viewing will provide.

Oscar Nominations: 1 win-Best Actor-Albert Finney, Best Supporting Actress-Ingrid Bergman (won), Best Screenplay Adapted from Other Material, Best Original Dramatic Score, Best Costume Design, Best Cinematography

1962 Films, Action, Bernard Lee, James Bond, Lois Maxwell, Sean Connery, Terence Young, Ursula Andress

Dr. No-1962

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Dr. No-1962

Director Terence Young

Starring Sean Connery, Ursula Andress

Scott’s Review #667

Reviewed July 27, 2017

Grade: A-

Watching the 1962 film that launched the James Bond franchise into the legendary status that it has since become, Dr. No is rich in history and is a blueprint of what the Bond films would encompass in the decades to follow.

Admittedly more basic in comparison to the more sophisticated and fleshed-out chapters to come, the film is nonetheless a superb entry in the franchise and a chapter to be cherished on its own merits.

Charismatic Sean Connery, soon to forever be identified in the role of James Bond, fills the role with a suave, masculine, confidence oozing from the screen in every scene. Hiss’s performance in the role is so seamless, that one might assume he had been playing Bond for years, rather than being a novice.

And who can forget the character’s first entrance- in a casino, confidently gambling, and introducing himself to Sylvia Trench, a character originally slated to be his steady girlfriend?

The film version of Dr. No is adapted from the first Ian Fleming spy novel of the same name, which is clever. As the years have gone by, the Bond films were modified a great deal from the originally written pages, so it is cool and original to have the film closely mirror the book.

Lacking a hefty budget, the action mainly takes place in both London and Jamaica and at Crab Key, a fictional island off of Jamaica.

When Strangways, a British Intelligence Chief, is killed and his body taken by assassins known as “the Three Blind Mice”, who also steal files related to Crab Key island, and a mysterious man named “Dr. No”, Bond is summoned to his superior’s (M) office in London and tasked with determining whether the incident has anything to do with radio interference of missiles launching in Cape Canaveral.

Naturally, it does and the adventure sets off a series of dramatic events involving henchmen, scrapes with death, and  Bond’s bedding of more than one beautiful woman, before facing the ultimate showdown with the creepy title character., who is missing both hands.

Notable and distinguishable to the film are the fabulous, chirpy, child-like songs featured in the film. From the tuneful, harmonic, nursery rhyme, “Three Blind Mice”, sung calypso style, to the sexy and playful, “Under the Mango Tree”, both are light, yet filled with necessary mystery too.

The fact that the former is featured at the beginning of the film and implies that the same villains are joyfully singing the happy tune, is a good indicator.

Dr. No is also inspired by the introduction of the crime organization, SPECTRE, which any Bond aficionado knows very well is a staple of the franchise.

Joseph Wiseman, like Dr. No, is well cast, though sadly, we only see him in the latter part of the film. Much more character potential is left untouched, though the mystique of knowing the man exists, but not what he looks like is worth mentioning.

Admittedly, rather silly is the assumption that the audience will not be witty enough to realize that both the characters of Dr. No and Miss Taro (a villainous secretary) are Caucasian actors wearing unconvincing makeup.

Why the choice was made not to cast authentically ethnic actors is unclear. My guess is the powers that be wanted to go a safer route due to the uncertainty of the franchise at that time.

Still, for a first try, Dr. No gets it just about right.

What woman in 1962 was sexier or cast more perfectly than Ursula Andress as the gorgeous and fiery sex kitten, Honey Ryder? This casting was spot on and who can forget her sultry introduction to the film as she emerges from the roaring waves on the beach in a scantily clad bathing suit?

The set designs and locales also work well in the film. Contemporary is the set pieces, specifically the spacious prison apartment Bond and Honey briefly reside in. Sleek and sophisticated, the sofa, rug, and tables all exude luxury and class.

Dr. No (1962) is a worthy film on its own merits and a fantastic introduction to the world of James Bond and the many trademark elements and nuances that the films contain.

1967 Films, Action, Bernard Lee, Desmond Llewelyn, Donald Pleasance, James Bond, Lewis Gilbert, Lois Maxwell, Sean Connery

You Only Live Twice-1967

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You Only Live Twice-1967

Director Lewis Gilbert

Starring Sean Connery, Akiko Wakabayashi

Scott’s Review #636

Reviewed April 23, 2017

Grade: B+

You Only Live Twice (1967) is the fifth in the James Bond film series franchise and also the fifth to star iconic Bond, Sean Connery, in the starring role.

Reportedly growing bored with the role and eager to move on to meatier acting challenges, Sean Connery is not quite as mesmerizing in the role this time around but is still indisputably charismatic and sexy with his delivery of one-liners and various affairs with women.

You Only Live Twice is the last to feature Connery until he would be coaxed into returning to the role four years later with 1971’s Diamond Are Forever.

The film is not tops on my favorite Bond films of all time nor is it even top ten for that matter, but still quite an enjoyable watch, and certainly, the Japanese locales are the highlight.

The film as a whole suffers from a silly story, dated special effects, and a completely lackluster villain, but it does have Connery to rescue it and a nice little romance between Bond and the main girl, Aki, played by Japanese actress, Akiko Wakabayashi- that is until she is unceremoniously poisoned.

The plot involves the hijacking of an American NASA spacecraft by another mysterious spacecraft. The Americans suspect the Russians of the action and the British suspect the Japanese since the aircraft landed in the Sea of Japan.

MI6 (Bond) fakes his death in Hong Kong and subsequently begins to investigate who is responsible. His search brings him to Tokyo where he investigates Osato Chemicals and stumbles upon evidence.

He is aided by both Aki and Tiger Tanaka, Japanese Secret Service leaders. Soon it is revealed that the mastermind is SPECTRE villain, Ernst Stavro Blofeld-in this installment played by Donald Pleasence.

Mr. Bond must destroy his enemy and inevitably save the world from a global nuclear war.

Though a timely storyline since 1967 was in the midst of the Cold War, the plot seems somewhat forced and a bit uninteresting. The countries blame each other for the hijacked ship, but this comes across as extremely plot-driven and secondary.

The “swallowing” of the aircraft seems cheesy and preposterous even considering the year that the film was made and the writing is not as rich as some of the proceeding Bond films like From Russia With Love or Thunderball.

The film also has an overall “cheap” look to it. However, the film does have plenty of positives worth mentioning.

The gadgets that James Bond fixture, Q (the MI6 technical wizard) creates are state-of-the-art and fun. The mini-flying helicopter that Bond uses is creative and allows for even more views to enjoy.

Bond faking his death in the opening sequence is a treat (albeit having been done before) and ceremoniously being cast off into the sea in a coffin only to be wearing a suit and an oxygen mask inside the casket is clever and light.

Donald Pleasence, a storied, fantastic actor, is not well cast in the role of the main villain Stavros and I am not entirely sure why. The fact that his face is not shown until the last act is not helpful and the character (though seen in other Bond films) is not compelling and is underutilized.

I would have liked to have the character be a bit more visible, though surprisingly the character was highly influential in the 1990s spoof Austin Powers films. Adorable yet creepy is Stavros only being seen clutching and stroking a gorgeous white cat.

As for the Bond women, the aforementioned Aki is the best of the bunch. Gone too soon in the story, she is replaced by Kissy Suzuki, who is rather unappealing. Mostly clad in a skimpy white bikini and heels, and appearing to wear a black wig, the character is forgettable and serves no purpose.

Conversely, villainous Helga Brandt, SPECTRE assassin, is very well cast and shares good chemistry with Connery. After an unsuccessful attempt to kill Bond, she is fated with a date with killer Piranhas as payment for her failure.

You Only Live Twice has a myriad of ups and downs, but is worth watching for fans of the franchise, and specifically, fans of the classic Bond films featuring Sean Connery.

Some will argue that the film feels dated and is chauvinistic, and to some degree they are correct, but the film is a large part of a treasured franchise and a fun experience.

1963 Films, Action, Bernard Lee, Desmond Llewelyn, James Bond, Lois Maxwell, Sean Connery, Terence Young

From Russia with Love-1963

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From Russia with Love-1963

Director Terence Young

Starring Sean Connery, Daniela Bianchi

Scott’s Review #615

Reviewed February 5, 2017

Grade: A

From Russia with Love (1963), only the second in the storied James Bond film franchise is a sequel to the debut installment, Dr. No, and received twice the budget that its predecessor did.

This is evident as the cinematography and the look of the film are exquisite with chase and battle scenes galore.

The film is lavish and grand and what a Bond film ought to be consisting of adventures through countries, gorgeous location sequences, and a nice romance between Bond (Sean Connery) and Bond girl, Tatiana (Daniela Bianchi), though she is not in my top Bond girls of all time.

Terence Young returned to direct the film with successful results.

Vowing revenge on James Bond for killing villainous Dr. No, SPECTRE’s Number 1 (seen only speaking and holding a cat) recruits evil Number 3, Rosa Klebb, a Russian director and defector, and Kronsteen, SPECTRE’s expert planner, to devise a plot to steal a Lektor cryptographic device from the Soviets and kill Bond in the process.

Klebb recruits expert killer Donald “Red” Grant and manipulates Tatiana into assisting. The story takes Bond mostly through Istanbul, Turkey, into a gypsy camp, and via the Orient Express through Yugoslavia to the ultimate climax.

The villains in From Russia with Love are outstanding and a major draw to the film.

Both Klebb (Lotte Lenya) and Grant (Robert Shaw) are perfectly cast. Klebb, militant and severe with her short-cropped red hair, has a penchant for deadly footwear (she has a spike that shoots out from her boot containing venom that kills in seconds) and casually flaunts her lesbianism in front of Tatiana.

I admire this level of diversity in early Bond films from a sexual perspective- it was 1963 and this was extremely rare to see in the film.

Grant, on the other hand, is handsome and charismatic and has a chest of steel. With his good looks and bleached blonde hair, he is a perfect opponent for Bond as the final battle between him and Bond aboard the Orient Express is a spectacular fight scene and a satisfactory conclusion to the film.

The action sequences are aplenty and compelling especially the aforementioned, and lengthy Orient Express train sequence finale, which is grand. As Bond and Tatiana, along with their ally Ali Kerim Bey, a British Intelligence chief from Istanbul, embark on a journey, they are stalked by Grant, who waits for an opportunity to pounce on his foes.

This sequence is the best part of the film for me- Grant, posing as a sophisticated British agent, has a cat-and-mouse style conversation with Bond and Tatiana over a delicious dinner of Sole.

Grant drugs Tatiana by placing capsules in her white wine- the fact that he orders Chianti with Sole- a culinary faux pas- gives him away.

Other notable aspects of From Russia with Love are the soon-to-be familiar cohorts of Bond who will be featured in Bond films for years to come: M, Q, and Miss Moneypenny become treasured supporting characters that audiences know and love.

Mere novices in this film, it is fun to see their scenes- especially lovelorn Moneypenny.

An odd scene of sparring female gypsies is both erotic and comical as the two women wrestle and fight over a gypsy chief, only to soon forget their rivalry and both bed Bond- falling madly in love with him as the two women suddenly become the best of friends.

The chemistry between Connery and Bianchi is good, but nothing spectacular and not the real highlight of this Bond entry. Don’t get me wrong- they make a gorgeous couple- his dark, suave looks and her statuesque blonde figure look great, but I found the pairing just decent rather than spectacular.

The action sequences, especially the Orient Express scenes are a spectacle and the many location shots in and around Istanbul are ravishing.

From Russia with Love (1963) is a top entry in the Bond series and a film that got the ball rolling with fantastic Bond features- it is an expensively produced film and this shows.

1965 Films, Action, Bernard Lee, Desmond Llewelyn, James Bond, Lois Maxwell, Sean Connery, Terence Young

Thunderball-1965

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Thunderball-1965

Director Terence Young

Starring Sean Connery, Claudine Auger

Scott’s Review #364

1046268

Reviewed January 9, 2016

Grade: A

By 1965, the James Bond franchise was embarking on its fourth in the series, and the budget certainly reflected the success of the preceding films.

Thunderball has the luxury of reaping the benefits of an enormous budget and as a result is a grand, epic film. The sheer lavish nature of the film makes it one of my favorite Bond films simply for the look of it.

The special effects are a marvel.

By this time Sean Connery had comfortably immersed himself into the role of Bond with his charms and his ability to exude charisma into the role.

In this story, two NATO atomic bombs have been stolen by SPECTRE and hold the world to ransom for millions in diamonds. They are threatening to detonate one of the bombs in a major city in either the United States or England. Mr. Bond must race against time to deter this from happening.

For starters, the opening sequence is one of my favorites. Bond attends the funeral of a deceased SPECTRE agent (number 6) at a lavish chateau in France. The agent is disguised as his own widow, but Bond is not fooled.

This sets the tone of the film as a dramatic fight scene ensues between the two “men”.

The main villain of Thunderball is Emilio Largo (Adolfo Celi), a handsome, suave, SPECTRE agent (number 2). He is rich and sophisticated which mirrors the whole of the film. His grand estate is set and filmed in the Bahamas giving most of the film a steamy, posh, look, with bluish-green waters, and white crispy sand the most gorgeous of backdrops.

Largo is a great Bond villain and on par with Bond. He also has charm, good looks, and charisma.

The main Bond girl is Domino, played by Claudine Auger, and she is Largo’s mistress. She is typically clad in black and/or white, hence her name. Auger has the perfect balance of beautiful looks, sophistication, and intelligence, and is a perfect match for Bond. The chemistry between Connery and Auger is apparent and a major part of the success of the film.

What sets Thunderball apart from some other Bond films is the major portion of the film, mostly in the second half, taking place underwater.

In a clear example of showing off the modern technology of the time (1965), some complained that these sequences went on too long and did not further the plot.

These points may contain some validity, but oh are they so gorgeous to look at? The exotic underwater world is majestic.

Thunderball really has it all and is one of the most gorgeous of films. The film is big, bombastic, and filled with bright colors.

It contains all of the elements of a great Bond film and why it holds up incredibly well all these years later.

Oscar Nominations: 1 win-Best Special Visual Effects (won)

1964 Films, Action, Bernard Lee, Best Film of the Year, Desmond Llewelyn, Guy Hamilton, James Bond, Lois Maxwell, Scott's Top 100 Films, Sean Connery

Goldfinger-1964

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Goldfinger-1964

Director Guy Hamilton

Starring Sean Connery, Gert Frobe

Top 100 Films #72

Scott’s Review #337

22041809

Reviewed January 9, 2016

Grade: A

By the time Goldfinger (1964) was released, the third in the James Bond franchise, the films were huge successes and the budget was not to be spared a dime.

The lavish sets are proof of this and Goldfinger is one of the best of all the Bond films- containing all of the necessary elements to make it successful- interesting villains, Bond girls, gadgets, and locales.

By 1964’s Goldfinger, Ian Fleming’s franchise had hit its stride and was achieving runaway success.

The intriguing premise immediately sets the tone- 007 is assigned to investigate a massive gold smuggling scheme. The conspirator is Auric Goldfinger (Gert Frobe), who hatches a plot to contaminate the United States Bullion Depository at Fort Knox.

His goal, naturally, is to control the world.!

The adventure takes Bond from the United Kingdom to Switzerland, and finally to the United States in  Kentucky and Florida.

The main Bond girl, a villain, is uniquely named, Pussy Galore. The film implies that the character is bisexual and she is very tough. James Bond becomes intrigued by and smitten with her.

Goldfinger has the honor of containing one of the greatest Bond villains of all time- the title character of Goldfinger. Big and burly, he is menacing-looking and actor Frobe is perfectly cast.

We first meet the man, cheating at gin rummy, poolside at a lavish Miami Beach hotel, whilst Bond looks on from dozens of floors up, with the assistance of Goldfinger’s moll, Jill Masterson.

In one of the greatest scenes in Bond history, a knocked-out Bond awakens to find Jill dead- and completely covered in gold paint! The fact that this scene occurs early on sets up the Bond/Goldfinger rivalry in an outstanding fashion.

Goldfinger’s henchman, Oddjob, is also a grand Bond villain- Asian, menacing, and wearing a trademark steel-rimmed hat, which he uses to kill his victims. Jill’s sister, Tilly, seeks revenge on Goldfinger only to find herself a victim of Oddjob’s infamous bowler hat as she flees for her life.

On the heels of an exceptional Bond film, 1962’s From Russia With Love, a stellar film itself with nary a flaw, Goldfinger excels slightly because it has got all the right ingredients for a perfect film, and was firing on all cylinders.

Everything simply flows with precision.

Unforgettable is the climax of Goldfinger at the legendary Fort Knox itself. Goldfinger’s private army, an atomic device, a countdown to destruction, and Oddjob, all make for a satisfying and riveting conclusion to one exceptional Bond entry.

Oscar Nominations: 1 win-Best Sound Effects (won)

1971 Films, Action, Bernard Lee, Desmond Llewelyn, Guy Hamilton, James Bond, Jill St. John, Lois Maxwell, Scott's Top 100 Films, Sean Connery

Diamonds Are Forever-1971

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Diamonds Are Forever-1971

Director Guy Hamilton

Starring Sean Connery, Jill St. John

Top 100 Films #57

Scott’s Review #328

60000705

Reviewed January 6, 2016

Grade: A

Despite Diamonds Are Forever (1971) being one of the lower-rated James Bond films, this is actually one of my favorite films of all time and many would disagree with me.

Some say Sean Connery phoned this performance in, some say there was little chemistry between him and Jill St. John and tension-filled the sets leading to a sub-par offering, but I think this is a great film.

I love the Las Vegas locale, the bright lights, flashy costumes, and a ritzy underbelly- and the Vegas car chase is amazing.

A bright, shiny Ford Mustang takes center stage throughout the sequence, and if one looks closely, one will realize that nearly all the cars are Ford- fun fact!

The title song by Shirley Bassey is great- sultry and stylish only enhanced by the glitzy setting. One immediately imagines the film oozing with diamonds as it does.

The villains are interesting and Mr. Wint and Mr. Kidd were the first openly gay Bond villains, which, in 1971 was groundbreaking.

Yes, they are evil and slightly silly, but what a risky and surprising blatant scene to see the gentlemen holding hands.

St. John is a sophisticated and intelligent Bond girl and the action in this film is plenty.

Diamonds Are Forever (1971) contains all the elements for an enjoyable Bond experience.

Oscar Nominations: Best Sound

1964 Films, Alfred Hitchcock, Diane Baker, Kimberly Beck, Sean Connery, Thriller, Tippi Hedren

Marnie-1964

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Marnie-1964

Director Alfred Hitchcock

Starring Sean Connery, Tippi Hedren

Scott’s Review #180

60000769

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.