The mid-1950s marked the beginning of a significant phase in Alfred Hitchcock’s career, characterised by his most popular, enduring, and influential works that have left an indelible mark on cinema history. However, the exact endpoint of this golden era is subject to debate among critics and scholars. Some argue that North by Northwest (1959) represents Hitchcock's pinnacle, while others point to Psycho (1960) or The Birds (1963) as his crowning achievements. In contrast, Marnie (1964) stands out as a contentious entry in Hitchcock's filmography. It is frequently regarded not only as inferior to his major classics but, for some contemporary viewers, as his worst film. This polarising reception ensures that Marnie remains the most controversial film of Hitchcock's career.
The film is adapted from Winston Graham's 1961 novel of the same name, with the setting shifted from authors’ native England to the East Coast of the United States. The narrative opens with Sidney Strutt (played by Martin Gabel), a tax consultant lamenting the embezzlement of a substantial sum by one of his secretaries, whom he had hired more for her looks than her qualifications. Mark Rutland (played by Sean Connery), Strutt's business partner and a widowed publisher from Philadelphia, finds amusement in this predicament, unaware that he will soon fall victim to a similar scheme orchestrated by Margaret "Marnie" Edgar (played by Tippi Hedren). Marnie employs her beauty to charm wealthy employers into hiring her before embezzling funds and assuming new identities. Despite Mark's attraction to Marnie, he uncovers her deceit and presents her with an ultimatum: either marry him and repay her victim or face imprisonment. Reluctantly, Marnie agrees, but it soon becomes apparent that she struggles with profound neuroses and a deep-seated aversion to physical intimacy, leading her to contemplate suicide. As Lil Mainwaring (played by Diane Baker), Mark’s sister-in-law with designs on him, threatens to expose Marnie’s secrets, Mark embarks on a journey to Baltimore to uncover a childhood incident involving Marnie's mother (played by Louise Latham) that may explain her psychological turmoil and criminal behaviour.
The relatively poor reputation of Marnie can be attributed to several production issues. Initially, Hitchcock sought Grace Kelly for the titular role; however, she was unavailable due to her status as Princess of Monaco. The project faced further complications when noted writer Evan Hunter was dismissed from the scriptwriting team, followed by legendary composer Bernard Herrmann being replaced after Hitchcock deemed his score too reminiscent of previous works.
Tippi Hedren was cast based on her performance in The Birds, but her experience during filming was marred by allegations of sexual harassment from Hitchcock. She claimed that she had to fend off his advances throughout production. These claims later inspired The Girl, a 2012 television film that depicted the tumultuous relationship between Hedren and Hitchcock, featuring Toby Jones as Hitchcock and Sienna Miller as Hedren.
Despite any dysfunction on set, the film does not reflect these issues onscreen. Hedren later expressed satisfaction with her challenging role; indeed, Marnie showcases her talents remarkably well. Often regarded as the last of Hitchcock's iconic blondes, Hedren’s presence is accentuated through Edith Head's costumes, which contribute significantly to her character's visual impact. Her performance is commendable; she adeptly transitions from a calculating seductress to a woman unraveling under psychological strain.
Sean Connery accepted his role in an effort to break free from typecasting following his success as James Bond. While some critics have argued that he was miscast as Marnie's morally ambiguous employer and husband, Connery manages to infuse his character with both charm and darkness, making him believable within the film’s context.
Hitchcock demonstrates his mastery in crafting visually stunning scenes throughout Marnie, particularly in its opening sequences where he effectively establishes Marnie's modus operandi for escaping with stolen money. His renowned ability to build suspense is evident in several later scenes that maintain audience engagement.
Upon its release, however, Marnie faced considerable criticism from reviewers who perceived it as a decline compared to Hitchcock’s earlier masterpieces. This viewpoint holds merit; the script presents complexities that can feel convoluted at times, particularly with subplots involving romantic rivals vying for Mark’s attention. Additionally, the film’s length contributes to its pacing issues. At moments, it appears to recycle themes explored in previous works—such as psychological trauma in Vertigo, sexual frustration in Rear Window, or theft from employers in Psycho—leading some viewers to feel it lacks originality.
Perhaps the most significant criticism stems from its treatment of sensitive topics that modern audiences may find objectionable. The plot addresses sexual themes in ways that can seem outdated or even regressive by today’s standards. Mark's attempts to "cure" Marnie's frigidity culminate in a scene that could be interpreted as rape—a moment that starkly contrasts with contemporary understandings of consent and agency.
Despite these shortcomings, Marnie still exhibits qualities that elevate it above many other films produced during its time; even second- or third-tier Hitchcock works surpass first-tier offerings from other directors. Viewers who approach the film without being weighed down by its controversial reputation or overly high expectations may find themselves rewarded with a compelling cinematic experience.
RATING: 7/10 (+++)
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