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Marnie
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Marnie (1964) More at IMDbPro »

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Marnie -- Mark marries Marnie although she is a habitual thief and has serious psychological problems, and tries to help her confront and resolve them.

Overview

User Rating:
7.2/10   29,106 votes »
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Director:
Writers:
Winston Graham (from the novel by)
Jay Presson Allen (screenplay)
Contact:
View company contact information for Marnie on IMDbPro.
Release Date:
22 July 1964 (USA) See more »
Genre:
Tagline:
Would his touch end Marnie's unnatural fears or start them again? See more »
Plot:
Mark marries Marnie although she is a habitual thief and has serious psychological problems, and tries to help her confront and resolve them. Full summary » | Full synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
Freud, Hitchcock, Sex and Suspense See more (186 total) »

Cast

  (in credits order) (verified as complete)

Tippi Hedren ... Marnie Edgar (as 'Tippi' Hedren)

Sean Connery ... Mark Rutland

Martin Gabel ... Sidney Strutt
Louise Latham ... Bernice Edgar

Diane Baker ... Lil Mainwaring

Alan Napier ... Mr. Rutland
Bob Sweeney ... Cousin Bob
Milton Selzer ... Man at Track
Henry Beckman ... First Detective
Edith Evanson ... Rita - Cleaning Woman

Mariette Hartley ... Susan Clabon

Bruce Dern ... Sailor
S. John Launer ... Sam Ward

Meg Wyllie ... Mrs. Turpin
rest of cast listed alphabetically:
John Alvin ... Hotel Chauffeur (uncredited)

Kimberly Beck ... Jessica 'Jessie' Cotton (uncredited)
Lillian Bronson ... Mrs. Maitland (uncredited)
Linden Chiles ... Office Worker (uncredited)
Rupert Crosse ... Office Worker (uncredited)

Harold Gould ... Mr. Garrett - Manager of Farm (uncredited)
John Hart ... Dr. Gilliat - Minister (uncredited)

Emmaline Henry ... Minor Role (uncredited)

Alfred Hitchcock ... Man Leaving Hotel Room (uncredited)
Kenner G. Kemp ... Party Guest (uncredited)
Louise Lorimer ... Mrs. Strutt (uncredited)
Milton Parsons ... Bald Man (uncredited)

Carmen Phillips ... Sidney Strutt's Secretary (uncredited)

Melody Thomas Scott ... Young Marnie (uncredited)
Bert Stevens ... Party Guest (uncredited)
Hal Taggart ... Man at Racetrack (uncredited)

Directed by
Alfred Hitchcock 
 
Writing credits
Winston Graham (from the novel by)

Jay Presson Allen (screenplay)

Produced by
Alfred Hitchcock .... producer (uncredited)
 
Original Music by
Bernard Herrmann (musical composition by)
 
Cinematography by
Robert Burks (director of photography)
 
Film Editing by
George Tomasini 
 
Production Design by
Robert F. Boyle (production designed by) (as Robert Boyle)
 
Set Decoration by
George Milo 
 
Makeup Department
Jack Barron .... makeup
Virginia Darcy .... hair stylist
Robert Dawn .... makeup
Howard Smit .... makeup
 
Production Management
Hilton A. Green .... unit manager
 
Second Unit Director or Assistant Director
James H. Brown .... assistant director
Patricia Casey .... assistant director (uncredited)
Hilton A. Green .... assistant director (uncredited)
William Witney .... second unit director (uncredited)
 
Art Department
Harold Michelson .... storyboard artist (uncredited)
 
Sound Department
William Russell .... sound recording
Waldon O. Watson .... sound recording
 
Visual Effects by
Albert Whitlock .... pictorial designer
 
Stunts
May Boss .... stunts (uncredited)
 
Camera and Electrical Department
Leonard J. South .... camera operator (as Leonard South)
Bobby Greene .... first assistant camera (uncredited)
Paul Jacobsen .... electrician (uncredited)
Robert Willoughby .... special still photographer (uncredited)
 
Costume and Wardrobe Department
Vincent Dee .... costume supervision
Edith Head .... costume designer: Miss Hedren and Miss Baker
James Linn .... costumes: men's
Rita Riggs .... costumes: women's
 
Other crew
Peggy Robertson .... assistant: Mr. Hitchcock
Lois Thurman .... script supervisor
 
Crew verified as complete


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Additional Details

Also Known As:
"Alfred Hitchcock's Marnie" - UK (complete title), USA (complete title)
See more »
Runtime:
130 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Mono (Westrex Recording System) (uncredited)
Certification:
Argentina:13 | Australia:M | Brazil:12 | Canada:PG (Manitoba/Ontario) | Canada:13+ (Quebec) | Finland:K-16 | Italy:VM14 | Norway:15 (TV rating) | Norway:16 (1964) | Peru:14 | Portugal:M/12 | Singapore:PG | Spain:18 | Sweden:15 | UK:X (original rating) | UK:15 (re-rating) (2012) | UK:15 (video rating) (1993) (2012) | USA:Approved (MPAA rating: certificate #20710) | USA:TV-PG (TV rating) | USA:PG (1984) | West Germany:16
Filming Locations:

Did You Know?

Trivia:
English actress Rachel Roberts originally mentioned to play role of Marnie's mother, a part that went to Louise Latham.See more »
Goofs:
Crew or equipment visible: The shadow of the boom mic falls on the wall of Marnie's mother's kitchen while she makes Jessie's pie.See more »
Quotes:
[first lines]
Sidney Strutt: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.
First Detective:Can you describe her Mr. Strutt?
Sidney Strutt:Certainly I can describe her: five-five, 110 pounds, size 8 dress, blue eyes, black wavy hair, even features, good teeth.
Sidney Strutt:[detectives unable to restrain laughter] Well what's so damn funny? There's been a grand larceny committed on these premises.
See more »
Movie Connections:
Referenced in Never Say Never Again (1983)See more »

FAQ

Did Mark rape Marnie?
What are the "fatted bugs" that Mark describes to Marnie on their honeymoon?
Does Alfred Hitchcock have a cameo?
See more »
85 out of 117 people found the following review useful.
Freud, Hitchcock, Sex and Suspense, 19 June 2004
Author: jay_thompson680 (jay_thompson680@hotmail.com) from Clifton Hill, Melbourne, Australia

Hitchcock's Marnie was a critical and financial failure when released in 1964. Some decades afterwards, the film was 'rediscovered' by film theorists fascinated by its engagement with issues such as Freudian psychoanalysis, sexual abuse, gender roles, trauma, sexual deviance.

The central plot revolves around Marnie, a habitual thief who goes to work for large corporations, steals from her (always male) boss, then flees - dying her hair, changing her name and then starting over again.

One employer, Mark Rutland, recognises her from one of her previous companies. When she robs him, he pursues and marries her. Playing Freud to her Jane, he alternates between trying to get her into bed and determining the link between her thefts and her fear of sex, thunder storms, the colour red and men.

Tippi Hedren is ideally suited for the role of Marnie; her trembling-but-firm voice and impassive, doll-like face give her the look and feel of a tough-yet-vulnerable child-woman, lost in a nightmare world. Sean Connery is terrific as

Rutland, and the interaction between his character and Marnie suggests (at times) a slight subversion of gender roles. She may be troubled, but she won't easily fall under his net (he likens her to a wild animal) - and will tell him!

Throughout the film, there is a brilliant use of colour, and some memorably dreamlike shots: the opening of Marnie (her face unseen) with black hair, walking as if in a daze along a railway platform and through a hotel; the hand banging against a window, alarming the sleeping Marnie; the flashback to the woman's troubled past.

Unfortunately - and other reviewers on IMDb have argued this - the film's editing is often lazy. Some scenes go on for far too long, and are way too chatty. More show and less tell, I say! There are those fake backdrops. They can be seen to suggest Marnie's detachment from the world (as Hitch once argued), but why couldn't he include them with every shot of her? Laziness, again?

Then there's Lil, the sister of Mark's dead wife. Diane Baker gives a terrific performance, and there is the suggestion that Lil's attraction to her former brother-in-law might be deceptive... it could be Marnie she's after. Just check out the look she gives Marnie when they first meet and her remark ('Who's that Dish'?) But the lesbian subtext is never explored. Lil's character is never developed beyond a woman who alternates between smiling and scowling at Marnie, and then disappearing before the dramatic 'final confession'.

Otherwise, a brave film, elegant to look at, and rich with issues for the film theorist AND the 'casual' viewer to explore.

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