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Marnie (1964)
 
Review
* This review may contain spoilers. *
If a
beautiful woman isn't willing to have sex with Sean Connery, she
must have a traumatic past. That is essentially Alfred Hitchcock's
claim with the rich, but slightly flawed psychological thriller
Marnie. And who's to say he wasn't right. God knows Connery has
had his fair share of women. Seeing Marnie in retrospect, the
boldness in tackling its subject matters counts for more than the
period-characteristic fallacies detract. For instance, the picture
is heavily coloured by the position of Freudian ideas during the mid
20th century; Marnie's entire behaviour is explained with the
Austrian neurologist's teachings. But even if these teachings come
off a little slanted today, there's nothing simplified or banal with
Hitchcock's handling of these touchy subject matters. Almost no
other filmmakers went into these dark waters at the time, and as he
proved with
Vertigo and
Psycho (among others),
Hitchcock had a real knack for conveying the forces at work in the
human psyche. Connery and Hedren, who plays the title character with
conviction, work great off of each other. And Hitch also displays
his astute stylistic sense here; Marnie following in the
footsteps of the aforementioned Vertigo stylistically.
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