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Marnie

  • 1964
  • PG
  • 2 Std. 10 Min.
IMDb-BEWERTUNG
7,1/10
56.475
IHRE BEWERTUNG
Sean Connery and Tippi Hedren in Marnie (1964)
Theatrical Trailer from Universal Pictures
trailer wiedergeben4:45
1 Video
99+ Fotos
Psychological DramaPsychological ThrillerCrimeDramaMysteryRomanceThriller

Mark heiratet Marnie, obwohl sie eine notorische Diebin ist und schwerwiegende psychische Probleme hat. Er unterstützt sie dabei, sich diesen zu stellen und sie zu lösen.Mark heiratet Marnie, obwohl sie eine notorische Diebin ist und schwerwiegende psychische Probleme hat. Er unterstützt sie dabei, sich diesen zu stellen und sie zu lösen.Mark heiratet Marnie, obwohl sie eine notorische Diebin ist und schwerwiegende psychische Probleme hat. Er unterstützt sie dabei, sich diesen zu stellen und sie zu lösen.

  • Regie
    • Alfred Hitchcock
  • Drehbuch
    • Winston Graham
    • Jay Presson Allen
  • Hauptbesetzung
    • Tippi Hedren
    • Sean Connery
    • Martin Gabel
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,1/10
    56.475
    IHRE BEWERTUNG
    • Regie
      • Alfred Hitchcock
    • Drehbuch
      • Winston Graham
      • Jay Presson Allen
    • Hauptbesetzung
      • Tippi Hedren
      • Sean Connery
      • Martin Gabel
    • 300Benutzerrezensionen
    • 72Kritische Rezensionen
    • 73Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 2 Nominierungen insgesamt

    Videos1

    Marnie
    Trailer 4:45
    Marnie

    Fotos318

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    Topbesetzung43

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    Tippi Hedren
    Tippi Hedren
    • Marnie Edgar Rutland
    • (as 'Tippi' Hedren)
    Sean Connery
    Sean Connery
    • Mark Rutland
    Martin Gabel
    Martin Gabel
    • Sidney Strutt
    Louise Latham
    Louise Latham
    • Bernice Edgar
    Diane Baker
    Diane Baker
    • Lil Mainwaring
    Alan Napier
    Alan Napier
    • Mr. Rutland
    Bob Sweeney
    Bob Sweeney
    • Cousin Bob
    Milton Selzer
    Milton Selzer
    • Man at Track
    Henry Beckman
    Henry Beckman
    • First Detective
    Edith Evanson
    Edith Evanson
    • Rita - Cleaning Woman
    Mariette Hartley
    Mariette Hartley
    • Susan Clabon
    Bruce Dern
    Bruce Dern
    • Sailor
    S. John Launer
    S. John Launer
    • Sam Ward
    Meg Wyllie
    Meg Wyllie
    • Mrs. Turpin
    Leon Alton
    Leon Alton
    • Party Guest
    • (Nicht genannt)
    John Alvin
    John Alvin
    • Hotel Chauffeur
    • (Nicht genannt)
    Kimberly Beck
    Kimberly Beck
    • Jessica 'Jessie' Cotton
    • (Nicht genannt)
    Lillian Bronson
    Lillian Bronson
    • Mrs. Maitland
    • (Nicht genannt)
    • Regie
      • Alfred Hitchcock
    • Drehbuch
      • Winston Graham
      • Jay Presson Allen
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen300

    7,156.4K
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    9scream25281

    Great, Genius

    Marnie is a misunderstood masterpiece from the Hitchcock. Often cited as an example of a messy, flawed genius - it can be off putting to some since its quite talky. However stick with it and you will be intrigued and itching to discover all about Marnie (contrary to what most say, played with understated brilliance from Tippi Hedren).

    The direction and cinematography is exceptional with Hitchcock and his usual crew i.e. Rob Burks etc on form. The atmosphere generated (apart from being 'Hitchcocky') is unique, dark, gloomy and at times akin to a horror film, yet it is utterly appealing and compelling. Theres an almost creepy, artificial humanless feel to proceedings as a result of the direction and how the actors have been directed to act as is briefly highlighted by a Hitchcock scholar in the documentary on the disk. Hitchcock knows the art of cinema, no flashy fast cuts or fast moving camera's as we see nowadays, but measured, inspired direction laced with flourishes of creative genius (thats Hithcock for you). Atmosphere, emotion is built up like poetry. Witness for example some moments of genius such as the final revelation, in what is one of Hitchcocks most underrated, powerful and shocking pieces of direction; the riding sequence which culminates in Marnies fantastic yet disturbing line of dialogue, " there there....", and also sinister momnets such as when Marnies mother wakes here from her nightmare- her voice disturbingly artificial in its lack of emotion and empathy for a clearly distraught Marnie.

    Speaking of the mother, Louise Latham -the actress behind the role effortlessly steals the show from an already superb Hedren and Connery. Latham eleicits an absolutely breathtaking performance. Her character is frighteningly creepy, tragic, powerful and marvellously played to keep up the suspense and intrigue. You don't know what to make of the character except of the fact she knows or has played a part in Marnies psychological condition. In fact I would go as far as to say it is one of the greatest performances in a Hitchcock picture - an example of genius casting. Similarly her character is arguably the greatest 'mother' character in any Hitchcock film beating Pyscho and Notorious' madame Sebastion.

    Marnie is a truly great picture and definetly Hitchcocks last great although Frenzy is a nice enough distraction. Not as good as Vertigo or Rear Window but certainly up there in the higher echelons of Hitchcocks work.

    9/10
    10marcosaguado

    Bertolucci's favorite Hitchcock

    To find out that Bernardo Bertolucci, the director of Last Tango In Paris, loves Marnie makes a lot of sense, to me anyway. If you think about it, Last Tango In Paris could have been a Hitchcock movie. An American in Paris meets a young girl, they have sex without knowing anything about each other and ends up in murder. Marnie is truly perverse and Sean Connery's obsession for Tippi Hedren is infinitely more perverse than whatever poor Tippi Hedren suffers from. He is turned on by her rejection. The kiss during the gelid honeymoon stays inches away from necrophilia. right?. The script is just delicious. Sean Connery goes for the troublesome center of his character, yes he does, whether consciously or unconsciously. Tippi Hedren is terrific here and with all the things we know now about the making of the movie her performance has acquired some extra something. Diane Baker as the scorned sister in law is a delight. So here we are, talking about a movie made 53 years ago. Time does extraordinary things.
    ross_whatwentwrong

    What can I say? You shall watch this!

    I think this just about proves that Sean Connery is an excellent actor outside Bond. At the time when Marnie was released, it recieved bad reviews. Why is a mystery to me. This film has everything you want in a film, and it also possesses that remarkable interest and captivating nature that you associate with a Hitchcock film. Again, the performance of Tippi Hedren was excellent, despite her ongoing row with Mr Hitchcock. The story is both believable and suspending. Alfred Hitchcock is "The Master of Suspense".

    If you are a Hitchcock fan or not, you must watch this. This proves to be one of the best of the Hitchcock Collection.

    I award this film 10/10. I love it and so will you.
    8BumpyRide

    "You're aching my leg, Marnie"

    Add me to the group of viewers who like this film. Yes, it is long and heavy on dialog, but visually stunning, and Bernard Herrmann's music is rich and vibrant. The best score he has ever composed.

    For me, I have favorite scenes in the movie, for example the opening shot of a woman carrying a yellow purse. From there we go to her hotel room and watch as she transforms herself into another person. Old clothes get discarded in a train locker and the key gently kicked down a grate. All of this is done with no words, but wonderful camera angles, and accompanied by a great musical score.

    The office scene where Marnie waits in the women's room before robbing the safe. You only hear the voices of her co-workers saying good night for the weekend. Again, this entire scene is done visually, only this time with a split screen showing Marnie and the cleaning lady simultaneously, as if we are watching a play. Only when the shoe falls from her coat pocket do we know that the cleaning woman is hard of hearing and the scene is now concluded.

    There are several vignettes such as these that make the movie interesting. Yes, the riding scenes are fake looking, and I think it was just a case where Alfred just didn't quite keep up with technology. But when you think of Marnie, this is the last, true Alfred Hitchcock movie we will ever see. From then on, we never again see a grand production with high production values as we have here.

    Yes it has flaws, and the acting may not be up to par at times, but there are worthwhile aspects that make this movie a classic in the Hitchcock canon.
    8TexMetal4JC

    Yet another underrated Hitchcock

    The rumors surrounding Marnie - the last in an amazing run of truly great Hitchcock movies that lasted from 1950-1964 - are plentiful. All of them consist of director Alfred Hitchcock's growing obsession for Tippi Hedrin (who starred in The Birds one year earlier). By the end of the movie, Hitchcock would not talk to Hedrin or even refer to her by name (this following a supposed failed pass at Hedrin), and his friends say Marnie was the last movie Hitchcock truly cared about.

    Regardless of the rumors, Marnie was a box-office failure and went unnoticed until recently when DVD brought back Hitchcock's unremarkable films, along with his classics. And behold, from the ashes ariseth... Marnie.

    Starring Hedrin as Marnie and Sean Connery as the man who falls in love with her, this movie tells of a compulsive thief and pathalogical liar who is caught by Connery and blackmailed into marrying him. Connery finds that Hedrin has incredible fears of red and thunderstorms, refuses to let men touch her and has disturbing dreams brought on by knocks at her door. Connery must play the dual role of keeping Marnie away from the police while trying to find out why she does what she does.

    This is indeed an excellent Hitchcock film. He reminds the audience that he did start out directing silent movies, and uses this silence very well in the robbery/cleaning lady scene. The moments leading up to Marnie's revealing flashback are incredible, and the movie reeks of typical Hitchcock: slow, methodic pacing to a brilliant and stunning climax.

    Marnie is not a patented "Hitchcock classic": The fades-to-red have not aged well (if they ever did look good), the horse-riding scenes just don't work, and the backgrounds are obviously fake (although it has been speculated that Hitchcock did this on purpose -- whatever the case he later regretted it). But the basic premise, the acting, the directing are all top notch and have turned Marnie into another of the "Underrated Hitchcock"s.

    8/10

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    Handlung

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    • Wissenswertes
      Sir Alfred Hitchcock, following his usual practice, bid for the movie rights to Winston Graham's novel anonymously, so as to keep the price down. However, in this instance, the scheme backfired; the anonymity of the purchaser made Graham suspicious, although he regarded the amount of money on offer as extremely generous. He instructed his agent to ask for twice as much. Hitchcock agreed, on condition that the deal be closed immediately. When Graham discovered who it was who had bought the rights, he said he would have given them away free for the honor of having one of his stories filmed by Alfred Hitchcock.
    • Patzer
      Through the porthole on the ship, the water is moving in one direction, but in the next shot, it is moving in the opposite direction.
    • Zitate

      Marnie Edgar: You don't love me. I'm just something you've caught! You think I'm some sort of animal you've trapped!

      Mark Rutland: That's right--you are. And I've caught something really wild this time, haven't I? I've tracked you and caught you, and by God, I'm going to keep you.

    • Alternative Versionen
      Dialogue in the final scene reveals that Marnie's mother had given up her virginity at 15 to Marnie's father in exchange for a sweater. Just before the film's release the studio had second thoughts about this part, and Alfred Hitchcock agreed to cut the lines. But hundreds of prints had already been made, and rather than incur the cost of reprinting the final reel of each, the studio released them as they were, so there were two versions of the film from the outset.
    • Verbindungen
      Edited into Geschichte(n) des Kinos: Une histoire seule (1989)

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 17. Dezember 1964 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Alfred Hitchcock's Marnie
    • Drehorte
      • Unionville Village, Kennett Square, Pennsylvania, USA(mansion)
    • Produktionsfirma
      • Alfred J. Hitchcock Productions
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    Box Office

    Ändern
    • Budget
      • 3.000.000 $ (geschätzt)
    • Weltweiter Bruttoertrag
      • 8.211 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      2 Stunden 10 Minuten
    • Seitenverhältnis
      • 1.85 : 1

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