30th May 7.00pm
Dir: Alfred Hitchcock USA 1964
Rumours abounded that Grace Kelly would be making a comeback before this adaptation of Winston Graham’s novel went into production. Her icy aloofness would have been perfect for the tale of kleptomania, frigidity, fetishism and suppressed anxiety, and Tippi Hedren was considered no substitute by contemporary critics. Hindsight has established this as on of Hitchcock’s most fascinating “misfires”. Some of the conspicuously artificial set design and the back projection may not suit all tastes, but watch for Robert Burke’s suave colour photography and the mental duel between a man (Sean Connery) turned on by crime and a woman who steals to forget.
(Radio Times guide to Films 2013)
“This remains a compelling Hitchcock thriller but it’s Tippi Hedron’s remarkable central performance which steals the show.”
(Kim Newman, Empire Magazine)
“Universally despised on its first release, Marnie (1964) remains one of Alfred Hitchcock’s greatest and darkest achievements. Tippi Hedren, in a performance based on a naked, anxious vulnerability, is a compulsive thief; Sean Connery is the neurotically motivated southern gentleman who catches her in the act and blackmails her into marriage. The examination of sexual power plays surpasses Fassbinder’s films, which Marnie thematically resembles, going beyond a simple dichotomy of strength and weakness into a dense, shifting field of masochism, class antagonism, religious transgression, and the collective unconscious. The mise-en-scene tends toward a painterly abstraction, as Hitchcock employs powerful masses, blank colors, and studiously unreal, spatially distorted settings”
(Dave Kehr, Chicago Reader)