#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Marnie Edgar is a habitual liar and a thief who gets jobs as a secretary and after a few months robs the firms in question, usually of several thousand dollars. When she gets a job at Rutland’s, she also catches the eye of the handsome owner, Mark Rutland. He prevents her from stealing and running off, as is her usual pattern, but also forces her to marry him. Their honeymoon is a disaster and she cannot stand to have a man touch her and on their return home, Mark has a private detective look into her past. When he has the details of what happened in her childhood to make her what she is, he arranges a confrontation with her mother realizing that reliving the terrible events that occurred in her childhood and bringing out those repressed memories is the only way to save her.
Plot: Marnie is a thief, a liar, and a cheat. When her new boss, Mark Rutland, catches on to her routine kleptomania, she finds herself being blackmailed.
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“You’re aching my leg, Marnie”
Add me to the group of viewers who like this film. Yes, it is long and heavy on dialog, but visually stunning, and Bernard Herrmann’s music is rich and vibrant. The best score he has ever composed.
For me, I have favorite scenes in the movie, for example the opening shot of a woman carrying a yellow purse. From there we go to her hotel room and watch as she transforms herself into another person. Old clothes get discarded in a train locker and the key gently kicked down a grate. All of this is done with no words, but wonderful camera angles, and accompanied by a great musical score.
The office scene where Marnie waits in the women’s room before robbing the safe. You only hear the voices of her co-workers saying good night for the weekend. Again, this entire scene is done visually, only this time with a split screen showing Marnie and the cleaning lady simultaneously, as if we are watching a play. Only when the shoe falls from her coat pocket do we know that the cleaning woman is hard of hearing and the scene is now concluded.
There are several vignettes such as these that make the movie interesting. Yes, the riding scenes are fake looking, and I think it was just a case where Alfred just didn’t quite keep up with technology. But when you think of Marnie, this is the last, true Alfred Hitchcock movie we will ever see. From then on, we never again see a grand production with high production values as we have here.
Yes it has flaws, and the acting may not be up to par at times, but there are worthwhile aspects that make this movie a classic in the Hitchcock canon.
Hitchcock at his most misogynistic
Marnie is a habitual liar, thief, and cheat (in her own words). She goes from job to job, eventually robbing from each of them until she meets Mark Rutland, who instantly falls with her. However, as he discovers her habit, he is compelled to “help her” and save her both from the authorities, and from herself.
Marnie says it’s a trap, and it is, but what makes this film particularly disturbing is that apparently Sean Connery’s Mark is a hero or something. Using only the worst in Freudian psychobabble and a large desire to get into Marnie’s skirt, Mark leads her through traumatizing confrontation and traumatizing confrontation until she finally comes to terms with her own repressed memories… which is, apparently, enough to make her love him and go home to him like the happy little housewife she should be.
Because see, apparently Marnie being a criminal is completely a result of her weakness and inability to cope with her mother’s history, which is in turn necessary for a MAN to figure out. And even though she does not love this man (she never does, at any point in this movie, reveal such a love), his saving her is what is required to have her want to go back home with him. It’s disturbing, but not in the good disturbing way like with movies like Requiem for a Dream that are supposed to disturb you away from certain choices, or disturbing like Apocalypse Now which is supposed to paint a gratuitous anti-war picture. It’s disturbing because throughout the movie you keep asking yourself, “Is Hitchcock really gonna do that?” and yes, yes he does. Hitchcock has decided to fully reveal his misogynism.
Even beyond that, this movie fails on several levels. Hitchcock uses two effects that are entirely contradictory: her fear of red, which is represented in much the same way as the psychosis in Vertigo, and the heavy use of red on the set to represent masculinity like he does in many of his films. But, uh, Hitch: if she’s afraid of red so that she literally wigs out over a small amount of spilt red on her blouse, why is she not going into seizures surrounded by all the red in Mark’s house? Oh, and, uh, why is she wearing red lipstick? Only one moment with the violent reaction to red actually works anyway, and that’s the one where she spills the ink because it actually looks like blood, which makes sense. The rest of it is contrived and unbelievable.
And speaking of unbelievable, the entire relationship seems completely impossible. How a meeting of two characters like the ones portrayed could ever result in an eventual mutuality is beyond me. It’s not just bad chemistry of the actors, it’s bad writing. The only character in this movie that seems remotely sympathetic is Lil, and even she is just a deranged Freudian antihero.
No, this movie is just terrible. I’ve had issues with Hitchcock’s works before, but usually I’ve been able to find them at least technically acute and entertaining. This movie is proof that the Master wasn’t always on his top form.
Original Language en
Runtime 2 hr 10 min (130 min)
Genre Crime, Drama, Mystery, Romance, Thriller
Director Alfred Hitchcock
Writer Winston Graham (from the novel by), Jay Presson Allen (screenplay by)
Actors Tippi Hedren, Martin Gabel, Sean Connery, Louise Latham
Awards 2 nominations.
Production Company Universal Pictures
Sound Mix Mono (Westrex Recording System) (uncredited)
Aspect Ratio 1.85 : 1
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,580 m, 3,600 m (Finland)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm