7.12 h 11 min1964X-RayHDRUHDPG
Alfred Hitchcock creates a portrait of a disturbed woman (Tipi Hedren), and the man who tries to save her (Sean Connery), in this unrelenting psychological thriller.
Alfred Hitchcock
Tippi HedrenSean ConneryDiane Baker
English [CC]
Audio languages
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Supporting actors
Martin Gabel
Alfred Hitchcock
Universal City Studios Product
PG (Parental Guidance Suggested)
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4.6 out of 5 stars

2305 global ratings

  1. 78% of reviews have 5 stars
  2. 13% of reviews have 4 stars
  3. 6% of reviews have 3 stars
  4. 2% of reviews have 2 stars
  5. 2% of reviews have 1 stars
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Top reviews from the United States

Matthew D'SouzaReviewed in the United States on June 27, 2019
5.0 out of 5 stars
The Darkest Drama Hitchcock Ever Directed
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Alfred Hitchcock’s psychological thriller Marnie (1964) is a disturbing romance drama and crime mystery shot as a film noir. Hitchcock’s direction is stylized with a moody atmosphere and unsettling tone. Hitchcock’s directorial style utilizes Dutch angles, long takes, intimate close-ups, red colored filters over the lens, and flashing purple lights for a thunderous effect. The sleek and dreamy look to Marnie makes you feel at unease in every situation so that you feel truly bad for Tippi Hedren’s Marnie.

I have to mention that Marnie is the last film Tippi Hedren was a part of as she refused to sleep with Hitchcock and he subsequently ended her career. It’s disgusting and disappointing, but Marnie stands alone as a genuinely great film alongside Hedren’s other Hitchcock classic The Birds (1963).

Notably, I do find that Marnie is oddly feminist and sexist. Hitchcock clearly wanted to punish Hedren and added the rape scene to force Hedren into a compromised position and the men in Marnie are all sleazy, stubborn, self serving, sexist, and mysogynist on purpose. They only want to take advantage of Marnie. For example, Sean Connery’s complex character Mark is a caring love interest, sleazy blackmailer, and callous rapist all at once. Connery plays him charming and sincere so that you do not immediately despise his fearsome leading man, but Connery plays the well intentioned brute well in Marnie. Though you quickly realize his rich man character is just a spoiled man out for himself as he commands Marnie to do as he bids despite them ending up together.

On the other hand, Tippi Hedren’s inspired performance as Marnie may be the best of her career. I love Hedren’s classy heroine in The Birds, but she is genuinely devastating in Marnie. She is the coy lover, mysterious thief, troubled lady, traumatized child, ignored daughter, raped wife, and dejected woman all in one magnificent role that should have won her Best Actress at The Oscars for Marnie. Hedren takes all the insults, glares, and spite thrown her way all still delivered an all time great acting demonstration.

Furthermore, Hedren’s character is remarkably feminist. She rejects all the men that try to advance on her. She speaks her mind despite men threatening her. She rejects men insisting she drink. She refuses men sex when she does not want it. Marnie is a revelation of a female character in cinema. It’s too bad Tippi Hedren actually suffered at the hands of Hitchcock because she is a fantastic role model for girls. Beauty, intelligence, grace, cunning, sophistication, guile, and range. Her scream “No!” before the rape scene is haunting as is her tears recounting her childhood at the Marnie. Tippi Hedren is just amazing to me.

I also appreciate Diane Baker’s sly sister-in-law to Marnie and Louise Latham’s heartbreaking role as Marnie’s distant mother.

It appears that Hitchcock used painted backdrops to replicate a German expressionist feel and it still works for me. Marnie is really quite haunting with its grim outlook and dark subject matter. Marnie is sublimely directed and likely the last classic from legendary director Alfred Hitchcock.

Marnie is a last for many aspects of Hitchcock’s career. Marnie features the last score Bernard Herrmann composed for Hitchcock. It is romantic and dreamy with a penchant for dramatic flourishes during the exciting moments in Marnie. I adore Herrmann’s score for Marnie as it may be his finest music for Hitchcock aside from Vertigo.

Jay Presson Allen’s screenplay is a wonderful adaptation of Winston Graham’s novel Marnie from 1961. Fair warning to any potential viewers of Marnie, Allen’s script dives into theft, assault, rape, blackmail, pedophilia, abuse, phobia, and prostitution. Marnie is easily Hitchcock’s darkest film and it shows in every scene. These subjects are tackled with care and subtle obscuring so that you never see too much or in any graphic capacity. The tilt down during the rape sequence is tastefully shot and horrifyingly dire simultaneously.

Robert Burks’ finale role as Hitchcock’s cinematographer is impressive. Burks captures Tippi Hedren’s facial reactions and deep emotions with every skillfully executed close-up, but the most impressive aspect of Burks work on Marnie is his camera placement. You always see everyone from a neat vantage point that tells its own story. The symmetrical shot during the first robbery shows Marnie opening up a safe just as a lady is sweeping the floors which builds up so much suspense. Marnie is full of clever choices like this such as Hedren backing away from the thunder storms.

Likewise, George Tomasini’s final role as editor before his death was on Marnie. His cuts exhibit a brilliant use of jump cutting only when necessary. He lets tense sequences play out to draw out every bit of suspense, while the action sequences follow meaningful cuts instead of rapid fire ones. The edits to faces after certain heavy lines is always fascinating. For one of Hitchcock’s longer films, the pacing is deliberate and steady to keep you captivated by the intriguing mystery. Tomasini’s editing for Marnie is simply perfect.

In all, Marnie may be hard to watch for most audiences, but it is rewarding as every aspect of filmmaking is immaculate in Marnie.
32 people found this helpful
Oldie ManReviewed in the United States on September 16, 2019
5.0 out of 5 stars
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The brand new 4k release of Hitchcock's classic is pristine! The Blu-Ray from a few years ago was a mess. More snow than Mt Everest. No such thing with this new release. In my opinion, it is a beauty of a transfer. The opening shot of Tippi Hedren's yellow purse is stunning! You will not be disappointed as Marnie receives the restoration it deserves. No more new supplements but the documentary on the making of the film is still excellent with interviews with Tippi Hedren, Diane Baker and Louise Latham. The film will probably always be controversial. It is either the last of the great Hitchcock films or the beginning of his slide. It is interesting to read all of the reviews and the diverse opinions. Especially the performance of Tippi Hedren. It ranges from brilliant to the woman can't act. Personally, I think she did a good job but feel a few scenes show her lack of experience. She did become a much better actress as time went on. Check out Replacing Dad and on You Tube, Tea With Grandma for which she won a Best Actress award from the New York International Independent Film Festival and another for Mulligan's at the Method Fest Independent Film Festival. Both are short films. As far as Marnie, not my very favorite Hitchcock film, but in my top 10.
16 people found this helpful
HelperReviewed in the United States on January 25, 2017
5.0 out of 5 stars
No Hint of Hitchcock Here
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I am so pleased I watched this fiIm and I completely understand why so many gave critical ratings of Marnie. I am a Hitchcock fan from way back. In fact, I would have agreed, as I had so many years ago when I first saw this film. I decided to give it another try after seeing "The Girl" and feeling as if Marnie deserved one more chance. The critics are way off, just as I was, because I expected to see some hint of a Hitchcock mystery, which just isn't found in this film. I did not move from my seat, because I was engrossed throughout the entire 2 hours of this well made, psychological drama. I even rewound when I missed one moment of this film, because it was so well done, and way ahead of its time. Hitchcock took a chance here, and went outside of his comfort zone with this genre, and he did it quite well with what he had available at that time. Not to mislead anyone to think this film is too outdated, but I think to be understood back then, parts had to be overacted, and to some it appeared quite silly, but it was needed to show more emotion at times, to take place of
dialogue to be understood. Please give this a try, but don't expect to see a murder mystery, or have Hitchcock in mind while you watch either, and you will see why so many gave good ratings and appreciate where Hitchcock was coming from, after the movie is done.
46 people found this helpful
joel wingReviewed in the United States on August 11, 2020
4.0 out of 5 stars
Connery thinks he can fix Hedren of being a thief She believes men degrade & want to control women
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Marnie was a psychological thriller by Alfred Hitchcock. It featured Sean Connery as the wealthy book publisher Mark Rutland and Tippi Hedren as Marnie Edgar who gets jobs as a secretary to rob businesses. She steals from Rutland’s company but instead of prosecuting her, Rutland believes she has deep psychological problems that he thinks he can solve. In the process he falls in love with her and even marries her despite Edgar rejecting any intimacy. The movie focuses upon Rutland’s attempt to break down Edgar’s resistance and her determination to break free of his control. Could the two come to an understanding?

The film begins with a bit of cynicism about male executives. Marnie just stole a few thousand dollars from a company. When the police arrive the boss can describe her looks in great detail. His secretary notes with a sneer of disgust on her face that he hired Marnie even though she had no references. The point being that her pretty looks and eagerness to work made the executive putty in her hands for manipulation. Good looks and a smile could outwit men. This was Marnie’s trade and she did it well until she ran into Rutland.

The relationship between Rutland and Edgar is very strange at first. She’s like an experiment for him with the added twist that they get married and he loves her. The question is it real love or is it just the fascination with her interesting case? For Edgar it’s like being a caged animal that Rutland likes to observe. She feels trapped in a relationship she never wanted but is afraid that Rutland might turn her over to the police for her crimes. Not only that but her experience with bosses has made her look down upon men who refuse to accept women as equals. How can such a relationship work?

These are all the elements of the story. Once Edgar’s problem is revealed it’s pretty amazing it made its way into the film. America had pretty strict moral codes on what it would and would not allow in cinema and it would seem like Edgar’s past would have been banned but it wasn’t. Her story also highlights how childhood traumas can shape a person’s entire life. The film also touches on the sexism in the workplace. It’s not one of Hitchcock’s big hits but it’s very good.
8 people found this helpful
Grafton Wisconsin readerReviewed in the United States on October 26, 2019
4.0 out of 5 stars
Not Hitchcock's greatest, but great nonetheless
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Psychological thriller starring Tippi Hedrin as a compulsive liar and thief, rescued by her latest employer who falls in love with her (Sean Connery). He studies zoology, particulary predators of the animal kingdom. He has a picture of a jaguarundi in his office at the book publishing firm he owns. He tells Marian (one of Tippi's aliases in the film) that he trained the animal. "What did you train her to do?" she asks. "To trust me." "That's all? Marion exclaims. "Well, that's a lot, for a jaguarundi." It is just as difficult to get Marian to trust HIM, but in the end he does, tracing her behavioral problems to an incident of childhood trauma. The script is extraordinary, especially dialogue between Hedrin and Connery. Diane Baker, Louise Latham and Alan Napier are outstanding in supporting roles. The eerie, dramatic score is perfectly suited to the unfolding narrative. The film editing and erratic, oft celebrated camera angles are beyond extraordinary. Where Hitchcock is concerned, it is more like "Psycho" than "Rear Window" or "The Man Who Knew Too Much," but is really not quite like anything else he ever directed. His startling use of color and flashbacks also make this film a standout. It's not his greatest picture, but it is great nonetheless.
5 people found this helpful
Jeffrey S McSorley JrReviewed in the United States on July 17, 2022
3.0 out of 5 stars
Meh. Not the best- not the worst.
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I decided to watch this movie after it was referenced in the Netflix documentary "The Keepers" to see if it was any good. I thought that since it was so well known that it would be better than it was but I felt that I was let down. It's not the worst movie out there but overall I felt that it was a lot more boring than I thought it would be.
2 people found this helpful
Richard W DowReviewed in the United States on September 22, 2015
4.0 out of 5 stars
Hitch's Flawed Masterwork
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Alright, I just love this quirky film. It's all about Alfred Hitchcock's vision of a glamorous thief, designed with Grace Kelly in mind, but intriguingly played by 'Tippi" Hedren. Several Hitchcock biographers and film critics have tried to leapfrog over the film's curiosities and problems, including the scenes suffused with red and the disturbing "rape" scene. The screenwriter and others pleaded with director Hitch to leave the scene out, as it was incongruous with Marnie's character development, but his lifelong, unfortunate sexual obsessions had begun to surface by then and he would not be dissuaded. Hedren's acting, as well as Sean Connery's and all other supporting players, seems masterful to me. Louise Latham handles the old/young aspects of her role especially well, with a self-righteous rejection of her daughter that turns ugly, then unexpectedly tender as revelations about their past surface. Toward the end of filming, Hitchcock lost interest due to well-documented inappropriate personal demands he made of his star. It is said that to cover the deficiencies in his directing of this curiously old-fashioned and poignant film, he told his longtime composer Bernard Hermann to make the movie's music very loud and very dramatic. Hermann's score, his last completed work for Hitchcock, is over the top, yes, but in an unforgettable, beautiful way.

I've watched "Marnie" many times over the years, first on television, then DVD. My suspicion is that "romantics" love it, even while they recognize its flaws, while the "realists" who always saw the logical gaps in Hitch's work, disdain it. It's a great film and tells a sad, compelling story in high style, perfectly wrought tension, and great feeling.
19 people found this helpful
Universal AppealReviewed in the United States on October 24, 2020
5.0 out of 5 stars
Not one of Hitchcock's more well-known works
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When a list of Hitchcock's best are tallied, Marnie never makes the list. This movie has its problems--I will always be curious about how Grace Kelly would have played the role had she been permitted to do so--but it's certainly not terrible.

Tippi Hedren plays the typical Hitchcock blonde: beautiful, frosty, unknowable. She's a thief too, another characteristic Hitchcock seemed to fancy in his women. Sean Connery was never sexier than he was here (I've not watched the Bond franchise).

Watching this movie through a 21st century lens brings up a whole bunch of issues (marital rape, childhood abuse, female autonomy, among others), but I won't hold antiquated ideas against a 1964 movie. When we know better, we do better (most of the time).

Diane Baker, who played Mark's sister-in-law, was a highlight. Personally, I'd have chosen her over the crazy blonde who just couldn't stop stealing stuff, but that's me. Mark was just as troubled as Marnie, therefore, they were perfect for each other.
2 people found this helpful
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