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Marnie (1964)

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

Director:

Alfred Hitchcock

Writers:

Winston Graham (from the novel by), Jay Presson Allen (screenplay by)
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1 nomination. See more awards »

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Cast

Complete credited cast:
Tippi Hedren ... Marnie Edgar (as 'Tippi' Hedren)
Martin Gabel ... Sidney Strutt
Sean Connery ... Mark Rutland
Louise Latham ... Bernice Edgar
Diane Baker ... Lil Mainwaring
Alan Napier ... Mr. Rutland
Bob Sweeney Bob Sweeney ... Cousin Bob
Milton Selzer ... Man at Track
Henry Beckman ... First Detective
Edith Evanson Edith Evanson ... Rita - Cleaning Woman
Mariette Hartley ... Susan Clabon
Bruce Dern ... Sailor
S. John Launer ... Sam Ward
Meg Wyllie ... Mrs. Turpin
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Storyline

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 garykmcd

Plot Summary | Plot Synopsis

Taglines:

From Alfred Hitchcock with sex and suspense. See more »


Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

6 November 1964 (France) See more »

Also Known As:

Alfred Hitchcock's Marnie See more »

Filming Locations:

San Jose, California, USA See more »

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Box Office

Budget:

$3,000,000 (estimated)

Gross USA:

$7,000,000
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System) (uncredited)

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Louise Latham, who played Marnie's mother, was suggested by Screenwriter Jay Presson Allen, the two had been classmates in a boarding school in Texas. See more »

Goofs

In the beginning of the movie when Marnie visits her mom, she tells her mom that her boss, Mr. Pemperton, gave her another raise. At the end of the movie, when Marnie and Mark go to the mom's house to confront her with the past, the mom says to Mark, "You're not Mr. Pendleton." 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 feet five, 110 pounds, size 8 dress, blue eyes, black wavy hair, even features, good teeth.
[detectives unable to restrain laughter]
Sidney Strutt: Well what's so damn funny? There's been a grand larceny committed on these premises.
See more »

Alternate Versions

Dialogue 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. See more »

Connections

Featured in 'Torn Curtain' Rising (2000) See more »

Frequently Asked Questions

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User Reviews

Freud, Hitchcock, Sex and Suspense
19 June 2004 | by jay_thompson680See all my reviews

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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