A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
Marnie Edgar is a habitual liar and a thief who gets jobs as a secretary and after a few months robs the firms in question, usually of several thousand dollars. When she gets a job at Rutland's, she also catches the eye of the handsome owner, Mark Rutland. He prevents her from stealing and running off, as is her usual pattern, but also forces her to marry him. Their honeymoon is a disaster and she cannot stand to have a man touch her and on their return home, Mark has a private detective look into her past. When he has the details of what happened in her childhood to make her what she is, he arranges a confrontation with her mother realizing that reliving the terrible events that occurred in her childhood and bringing out those repressed memories is the only way to save her. Written by
To film real horses riding without having to work outdoors, Alfred Hitchcock came up with the idea of running the horses on a gigantic treadmill. Crew members objected to the idea because it was considered highly unsafe and because they simply didn't think it would work. Still, Hitchcock wanted to at least try it, and when they did, it worked without a problem. Originally, a harness was attached to Tippi Hedren during these shots for safety reasons, but it was removed when it was found to impede shooting. See more »
During the storm scene, Mark leads Marnie to sit on the sofa. For a moment, you can see Mark's lips moving but you can't hear what he is saying. See more »
Robbed! Cleaned out! $9,967! Precisely as I told you over the telephone. And that girl did it. Marion Holland. That's the girl. Marion Holland.
Can you describe her Mr. Strutt?
Certainly I can describe her: five-five, 110 pounds, size 8 dress, blue eyes, black wavy hair, even features, good teeth.
[detectives unable to restrain laughter]
Well what's so damn funny? There's been a grand larceny committed on these premises.
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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.
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