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
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 2 Nominierungen insgesamt
- Marnie Edgar Rutland
- (as 'Tippi' Hedren)
- Party Guest
- (Nicht genannt)
- Hotel Chauffeur
- (Nicht genannt)
- Jessica 'Jessie' Cotton
- (Nicht genannt)
- Mrs. Maitland
- (Nicht genannt)
Empfohlene Bewertungen
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
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.
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.
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
Wusstest du schon
- WissenswertesSir 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.
- PatzerThrough 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 VersionenDialogue 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.
- VerbindungenEdited into Geschichte(n) des Kinos: Une histoire seule (1989)
Top-Auswahl
Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- Alfred Hitchcock's Marnie
- Drehorte
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 3.000.000 $ (geschätzt)
- Weltweiter Bruttoertrag
- 8.211 $
- Laufzeit2 Stunden 10 Minuten
- Seitenverhältnis
- 1.85 : 1