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I love this movie so much

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The acting in this movie is really good.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

MARNIE is a psychological thriller as a kind of imbalance in relations of human nature, the past and the future. The two characters, one is provocative and other is seductive, are engaged in a dangerous game woven of love, passion and madness. It is based on the 1961 novel of the same name by Winston Graham.Marnie is a a compulsive thief who cannot stand to be touched by any man. Her new boss, Mark, is, in a strange way, fascinated by her behavior, to such an extent that he blackmails her into marriage when he stumbles onto her breaking into his safe. A dangerous and passionate game, based on a dark past and an uncertain future, can begin...Hitchcock's psycho-physical game, which is full of symbolism, is again very shocking. A lack of love and the impossibility of expressing the same, with constant disguise and deception, bring enough amount of intrigue. A strong sexual desire and frigid wife are kind of bonuses in this story.What's the problem with this film?I think, a serious dose of obsession, with the two main characters, which fully corresponds to their mysterious psyche is too sweet, and sticky for a psychological thriller. This is especially felt in acting. Simply, Hitchcock's thematic compactness is lost and psychological game becomes a bit tiresome to watch.There is of course, "Spellbound", as a kind of warning.Tippi Hedren as Margaret "Marnie" Edgar is a young woman who constantly suffers from nightmares, afraid of thunder and one color. A kleptomaniac is not aware of causes of her behavior and her fears. So the best. However, a thief becomes prey. Sean Connery as Mark Rutland is a widower, a zoologist and hunter at the same time. He is not a perfect man, regardless of his appearance and "mission". He is a man, who likes challenges in a form of attractive woman with serious psychological problems, who somewhere in her depths cries out for his help. Diane Baker as Lil Mainwaring is Mark's former sister-in-law, who will try to bring a discomfort into a romance, which practically not exist. Louise Latham as Bernice Edgar is a distant cold and mysterious mother. She is a wound that needs to be cleaned.I will repeat one of my sentence. I have a feeling that I watched pretty good movie where something's wrong.

Even as a teenager, I would never miss a Hitchcock movie. Marnie was one of the most puzzling of all of them. To start with, she is such damaged goods. She is quite beautiful as are all of Hitch's sultry blondes from Grace Kelly to Kim Novak. Tippi Hedren was physically abused by the demands of Hitchcock on the set of "The Birds." Sean Connery comes along an blackmails this young woman into marrying him. It would be better than jail. Of course, Connery wants the whole thing, and yet this young woman is resistant to anything sexual. The problem is that he is rich and she is beholden to him for saving her from prison. As time goes by, she has several dramatic incidents, including an attempted suicide. The secret for all this lies with her mother, who is a harsh, critical woman, beset by unhappiness and depression. The key to the film lies with her. This movie is quite a downer, even after it ends.

the labyrinth of the plot. and the strange, cold chemistry between Tippi Hedren and Sean Connery. the pillars of a great work of Hitchcock looking to not exactly give a masterpiece but a fascinating puzzle who use sexuality and psychoanalysis for build a powerful confrontation between two characters in same measure week. a film who reminds more its director art than it could be an example of this because it seems change entire story in each scene. the truth about Marnie is suspected by the viewer. and only the right manner to formulate it is unknown. and this is the clue of the film. to be a film about its public. and about the demons who impose the assume for each viewer of the role who defines him.

Sad but true, the master had lost his touch with MARNIE. And that sentiment comes from a Hitchcock fan.MARNIE doesn't even try hard to delve into pure cinema (with neurosis as its MacGuffin); the director simply "phoned it in." Hitchcock's call included directions for mixing the following ingredients: Mysterious blonde? Tippi. Charming leading man? Connery. Plot? Boy meets girl; boy loses girl to mental dysfunction; boy finds girl via amateur psychiatry. Cinema stuff: Make the screen awash in red to signify alarm. Move the lens in and out to highlight an object, e.g., money, to give the viewer a dizzying thrill (which proved more annoying than anything). For suspense, follow Marnie stealthily walking away from an unsuspecting washerwoman with one of her shoes inching its way out of her pocket.No, Alfred gets an F for this one. He'd become the directorial shadow of himself, ironically, having foretold that eventuality with his hallmark profile that opened of his TV series. MARNIE is blarney.