Marnie 1964

Marnie

Critics Consensus

A coolly constructed mystery revolving around a character who's inscrutable to a fault, Marnie finds Hitchcock luring audiences deeper into the dark.

83%

TOMATOMETER

Total Count: 40

73%

Audience Score

User Ratings: 19,302

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Movie Info

Mark Rutland (Sean Connery) is a customer of one Mr. Strutt, whose business was robbed by his secretary, the mysterious Marnie Edgar (Tippi Hedren). When Marnie applies for a job with Mark, with the intention of stealing from him, Mark -- who is obsessively in love with her -- blackmails her into marrying him. However, he soon discovers that she has severe psychological issues regarding men, thunderstorms and the color red, and resolves to help her come to terms with her past trauma.

Cast & Crew

Tippi Hedren
Marnie Edgar, Margaret Edgar, Peggy Nicholson, Mary Taylor (as 'Tippi' Hedren)
Sean Connery
Mark Rutland
Diane Baker
Lil Mainwaring
Martin Gabel
Sidney Strutt
Louise Latham
Bernice Edgar
Bob Sweeney
Cousin Bob
Milton Selzer
Man at Track
Alan Napier
Mr. Rutland
Bernard Herrmann
Original Music
Robert Burks
Cinematographer
Robert F. Boyle
Production Design
George Milo
Set Decoration
Edith Head
Costume Designer
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News & Interviews for Marnie

Critic Reviews for Marnie

All Critics (40) | Top Critics (12) | Fresh (33) | Rotten (7)

  • Hitchcock's elegant cinematic style, evident here and there, seems wasted in a melange of banal dialogue, obtrusively phony process shots, and a plot that congeals more often than it thickens.

    April 28, 2020 | Full Review…
  • Psychologically resonant, visually transcendent ...

    September 21, 2015 | Full Review…
  • Hitchcock was criticised for bring shallow psychology into the film (Hedren's character is afraid of the colour red) but some of their exchanges - the film was based on a novel by Winston Graham - are sharp and droll.

    August 31, 2014 | Rating: 4/5 | Full Review…
  • This remains a compelling Hitchcock thriller but it's Tippi Hedron's remarkable central performance which steals the show.

    March 20, 2012 | Rating: 4/5 | Full Review…
  • Universally despised on its first release, Marnie remains one of Alfred Hitchcock's greatest and darkest achievements.

    March 20, 2012 | Full Review…
  • Marnie is the character study of a thief and a liar, but what makes her tick remains clouded even after a climax reckoned to be shocking but somewhat missing its point.

    September 12, 2008 | Full Review…

Audience Reviews for Marnie

  • Nov 28, 2020
    Knowledge of Alfred Hitchcock's attitudes towards sexuality and his personal obsession with actor Tippi Hedren make this movie more than a minor cinematic masterpiece. It adds a whole new dimension to the film's psycho-sexual themes. Hitchcock's despicable treatment of his star probably instigated her sensational performance. Hedren has forgiven the director's behavior, saying she was able to separate his crude advances and possessive actions with the filmmaker's sublime work. SPOILER: In the movie, Hedren's character has these final words, "I don't want to go to jail. I'd rather be with you." It's as if she were delivering those lines to her director.
    Aldo G Super Reviewer
  • Jul 03, 2014
    A lot better of an effort than many Hitchcock fans will admit. A true psychological mystery that is advanced for its time with shocking revelations. Should be a classic.
    John B Super Reviewer
  • Mar 30, 2013
    This movie is decent. I definitely wouldn't consider it one of Hitchcocks best films....
    Cynthia S Super Reviewer
  • Feb 05, 2013
    As the film opens, it's revealed that Marnie (Hedren) has just emptied the safe of an office where she used her feminine charms to be hired without references. Changing her hair color from black to auburn, she takes a new job at a company run by Mark (Connery) who, unbeknownst to her, is aware she is the culprit responsible for the earlier theft. After staying behind in the office one evening, Marnie relieves the safe of its contents but is later tracked down by Mark who uses the opportunity to blackmail her into marriage. When he discovers his new bride has an extreme reaction to the color red, Mark sets about discovering the reason behind her affliction. The opening act of 'Marnie' contains some classic moments of Hitchcock's visual storytelling. The first sequence, Marnie walking away from the camera onto a train platform carrying a distinctive yellow handbag, immediately hooks us. Why aren't we seeing this character's face? Why are her nails painted pink rather than the traditional red? What's in that bulging handbag? We follow Marnie without seeing her face up until the moment when, having rinsed the black dye from her hair, she rises into view with a cheeky smile of satisfaction. The sequence detailing her studying the process by which the office safe is opened plays brilliantly by focusing solely on her attentive eyes. Her evening raid on the safe in question is a great moment of suspense as Marnie is unaware a cleaning lady is at work outside the office she's in the process of ransacking. Attempting to leave the building without being heard, Marnie puts her shoes in her coat pockets but one of them slowly works its way free, hitting the floor with a clatter. The twist is that the cleaning lady is deaf, allowing Marnie to escape. Unfortunately, the film's remaining two acts are extremely troublesome. Hitch has put us into the shoes of Marnie so, when Mark forces her into marriage against her will, the story, in the mind of the audience at least, becomes focused on how she will escape. This isn't the story we're presented with, as Hitch uses the plot-line as a cheap way to introduce a twisted sexual element. Bizarrely, he asks us to identify with Mark, even after we've seen him rape his unwilling bride. The plot focuses on the question of why Marnie is "frigid", even though earlier we saw her happily exchange a kiss with Mark before he turned into a sex fiend. "Why won't she sleep with me?" asks Mark. "Because you're a psychopath!" the audience answers. Had the film been made twenty years earlier (and starred say, Cary Grant and Ingrid Bergman rather than the wooden Hedren and Connery), the sexual aspect wouldn't, or rather couldn't, have been brought up and instead it could have sat comfortably alongside the similarly themed psycho-drama 'Spellbound' or those more successful tales of twisted relationships, 'Rebecca' and 'Suspicion'. After a cracking first forty-five minutes, we spend the rest of the film wanting to beat Mark about the head with a weighty copy of 'Sexual Aberrations of the Criminal Female', the book he reads to get an insight into why women don't enjoy rape. While it can't be classified as the last "classic Hitchcock", (that would be the preceding 'The Birds'), 'Marnie' acts as a bookend to his golden age, featuring the end of some significant collaborations. Cinematographer Robert Burks, editor George Tomasini, and production designer Robert Boyle would all end their association with Hitch after this film. Though Bernard Herrmann would go on to write an unused score for 'Torn Curtain', this would be the last time his evocative music would accompany Hitch's visuals, ending a film-maker/composer relationship which remains unsurpassed. 'Marnie' is one of his finest scores, though it's often unfairly criticized for being a 'Vertigo' knock-off. Before 'Marnie', Hitch had found his time in Hollywood relatively trouble free. With a poor critical and financial reaction to the film, 'Marnie' would mark the beginning of the worst, and arguably the only poor, creative chapter in the director's long and illustrious career.
    The Movie W Super Reviewer

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