bobshearer711 Grace Kelly was all set to star in this movie, when the European Press went bonkers. "A Princess in a movie"? She had to bow out in which Alfred Hitchcock wrote in return, "do not feel bad, it is only a movie". Love Hedren in this, but Kelly was was one fo the absolute greats.

Kirpianuscus the labyrinth of the plot. and the strange, cold chemistry between Tippi Hedren and Sean Connery. the pillars of a great work of Hitchcock looking to not exactly give a masterpiece but a fascinating puzzle who use sexuality and psychoanalysis for build a powerful confrontation between two characters in same measure week. a film who reminds more its director art than it could be an example of this because it seems change entire story in each scene. the truth about Marnie is suspected by the viewer. and only the right manner to formulate it is unknown. and this is the clue of the film. to be a film about its public. and about the demons who impose the assume for each viewer of the role who defines him.

stjohn1253 Sad but true, the master had lost his touch with MARNIE. And that sentiment comes from a Hitchcock fan.MARNIE doesn't even try hard to delve into pure cinema (with neurosis as its MacGuffin); the director simply "phoned it in." Hitchcock's call included directions for mixing the following ingredients: Mysterious blonde? Tippi. Charming leading man? Connery. Plot? Boy meets girl; boy loses girl to mental dysfunction; boy finds girl via amateur psychiatry. Cinema stuff: Make the screen awash in red to signify alarm. Move the lens in and out to highlight an object, e.g., money, to give the viewer a dizzying thrill (which proved more annoying than anything). For suspense, follow Marnie stealthily walking away from an unsuspecting washerwoman with one of her shoes inching its way out of her pocket.No, Alfred gets an F for this one. He'd become the directorial shadow of himself, ironically, having foretold that eventuality with his hallmark profile that opened of his TV series. MARNIE is blarney.

BA_Harrison Wealthy businessman Mark Rutland (Sean Connery) falls for beautiful, frigid compulsive liar and habitual thief Marnie (Tippi Hedren), and convinces her that marrying him is a better option than going to jail. After a few days of not being able to get into her pants, Mark practically forces himself upon the woman, which drives her to attempt suicide. Not one to give up, he endeavours to get to the bottom of the childhood trauma that has made his new wife such a screw-up.Even the greatest of directors can have the occasional mis-step; Marnie is one of Alfred Hitchcock's 'stumbles', the director putting his foot wrong on more than one occasion during the telling of this rather unremarkable psychological mystery.Technically, the film is undeniably sub-standard in places, with some awful rear-projection and painted backdrops that serve to pull the viewer out of the story. Performance wise, Tippi Hedren isn't quite up to the task, her role as the disturbed titular character requiring more subtlety than the actress can muster. In terms of basic storytelling, Hitchcock's film is both painfully slow and extremely talkative, and when all is said and done (with more being said than done), the pay-off simply isn't worth all of the tedious Freudian psycho-babble and overwrought drama.The only scene that even comes close to prime Hitchcock is when Marnie breaks into Rutland's safe: as she tiptoes barefoot out of the building, past the cleaner and guard, the shoes in her pockets gradually begin to fall out, providing some nail-biting tension. It's a shame there wasn't a lot more like this to liven up proceedings throughout.