MARNIE is most likely one of Hitchcock’s lesser known films as it misses most of the visual horror and obvious suspense of THE BIRDS or VERTIGO. Instead, it positions itself as a psychological thriller which focuses on themes such as memory, identity and sexual ownership, while familiar ones such as “the monstrous mother” only play at the sidelines.
However, this certainly does not make it less worthy to watch, as Hitchcock yet again displays his superb visual narrative skills, illustrated by the opening scene. A dark-haired woman walks down a platform on a train station with the camera focusing on her bright yellow bag; her face is not shown until she washes out her brown hair dye and becomes a blonde. Tippi Hedren is once again reunited with Alfred Hitchcock, playing the character Marnie, a habitual thief who steals from her employers, flitting from place to place and job to job. However, early on in the film it becomes clear that she suffers from some kind of trauma. Her new boss, Mark Rutland (Sean Connery), also recognises her damaged psyche and while he soon realises what she is really up to, he makes it his mission to resolve her issues.
“I’ve tracked you and caught you, and now I’m going to keep you.”
Hedren portrays convincingly the cold, forceful young woman who prefers to live independently, with no interest to enter a relationship, let alone marriage (only vying for the love of her mother). Despite this, she embarks on an affair with her brunette boss, Mark, and it soon becomes apparent that she is not as emotionally frigid as portrayed earlier in the film. In fact, it appears Marnie built a protective wall to shelter herself from a traumatic incident in her past. And while she attempts to refrain from depending on anyone else (in particular Mark), her dilemma is such that her trauma can only be resolved with the help of a man.
Connery is perfect for the role as the charming boss who is intrigued by Marnie but also follows his own selfish needs by trying to bind Marnie to him. It is mainly his lines that provide the film with its generous portion of humour. Yet, Hitchcock successfully constructs a complex character, as Mark is not simply Marnie’s saviour. He is a predator, who tells her, “I’ve tracked you and caught you, and now I’m going to keep you.” It is a frightening scene when Mark takes what he believes belongs rightfully to him (namely Marnie) even though the audience sees only Marnie’s face in extreme close-up, motionless with her eyes wide open.
Marnie’s inability to save herself without the assistance of a man might sit uncomfortably with some in the 21st century…
As with Hitchcock’s other films, the use of music and camera angles plays a significant role in creating tension and setting the mood. While the resulting horror and suspense in this film might not be as tangible as in THE BIRDS, for instance, it lurks in the way that memories and events of the past affect the present psyche. Overall, Marnie’s inability to save herself without the assistance of a man might sit uncomfortably with some in the 21st century; and despite Mark being portrayed as predatory, there is definitely room to accuse Hitchcock of misogyny, with the blame for Marnie’s condition lying solely with her mother. Nevertheless, Hitchcock creates another gripping film which delivers an unconventional love story.
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