The heroine of the film, Marnie Edgar, gets a job at various firms under a false name and, after working for a while, disappears with the companies’ money, leaving no trace. She is elusive because she constantly changes not only her name but also her appearance. Mark Rutland, a business partner of one of Marnie’s former victims, exposes her when she takes a job with him. But instead of turning Marnie in to the police, Mark blackmails her into marrying him. He discovers her deep-seated fear of men, sex, thunderstorms, and the color red…
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The master of suspense is lying, oh, how lying he is. What did he make a fallen creature a defenseless beauty? Apparently, a burnt-out girl with the features of Katya Pushkaryova, who hooks up with some suspicious Mexicans would break the whole fetish to hell. But the endless saga of Cinderella and the Prince, nice for the viewer, is a win-win.
We are very forgiving of the young and attractive. If a colleague or neighbor was going through your files, would you ignore that fact? And a cute blonde, caught by the hand, pat her eyelashes and straightforwardly confesses that she was checking if the knight of her heart is not married. And that’s it.
Tippy Hedren is the Cinderella here. She is, as Zheglov would say, Marnie Edgar, aka Margaret Edgar, aka Peggy Nicholson, aka Marie Taylor… In short, a hardened safecracker. But poor Marnie has this bad habit only because of bugs in her early childhood. She is also afraid of the color red, thunder and men’s embrace. A rare man can be tamed by such a bouquet. Well, princes, too, are a rare commodity.
Special of noble blood Hitchcock appointed James Bond in the guise of Sean Connery. Through all positive, masculine, handsome and rich, he plunges into the abyss of women’s psychological complexes, at the same time, as much as possible, asking pretty lady from the harsh reality of the prison cell.
After reaching a peak of psychology in the previous films Psycho and Birds, Hitchcock tried to continue the study of human depths, this time with an explicit Freudian bent. The film came out unhurried, with a minimum of climactic moments, such as Connery’s dash across the deck of the liner. And time has set its accents. Giving credit to the director, however, the picture is not considered iconic, taking a back seat.
Perhaps this is a credit to the cameraman, who shot in an apparent retro manner. Even in 1964 the plywood backdrops masking the pavilion shots are an obvious anachronism. What was the point of painting a ship several feet high near the motherhouse when you could shoot anything as a backdrop. Or the horse racing in the hunt is served well from above, then immediately changed to awkwardly combined close-ups.
For a psychological thriller, plot plausibility is not the first priority. Nevertheless, it is very unlikely that a simple girl of a few years, collecting tribute from the owner’s unburned drawers, has not been figured out either by the police or, more likely, by the criminal world. Too many strings and traces have been left behind by someone with no cover. And there are tens of thousands of dollars and reputations involved.
And there’s a question for Hitchcock himself. Sean Connery’s character very quickly and easily unsexed his wife willy-nilly. Still, my Slavic creature is disgusted by the American entertainment ‘Self-Thought Therapist’. But if you just start watching Hitchcock, this movie is suitable for a gradual delving into the intricacies of the master.
And in life, I would advise against crossing your path with the road of fatal blondes with a closet full of skeletons. There are fewer happy endings here.
Codec: HEVC / H.265 (55.2 Mb/s)
Resolution: Native 4K (2160p)
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
English: Dolby Digital 2.0
French: DTS 2.0 Mono
German: DTS 2.0
Italian: DTS 2.0
Japanese: DTS 2.0
English SDH, French, German, Italian, Finnish, Japanese, Spanish, Danish, Dutch, Norwegian, Swedish.