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Marnie
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Marnie

1964
Romance, Drama
2h 10m
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Avg Percentile 52.28% from 1393 total ratings

Ratings & Reviews

(1393)
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Rated 05 Jul 2009
75
68th
Now Marnie is a good film, but it feels really dated, sometimes laughable at some parts, most notably when Marnie panics (the red flashing on screen.) Otherwise, the performances are great, and I seem to be the only one, but I really liked the plot, it was definitely thrilling.
Rated 14 Aug 2007
46
7th
Hitchcock's aversion to shooting on location really mucks things up here; some of the sets look horrible, even worse is all the rear-projection horseriding. The primitive gender roles (not to mention the rape) make me think Hitchcock is indulging his personal demons. But most egregious is the ridiculous stew of lame, half-baked psychology, which will make you roll your eyes, if not double over with laughter. There is, however, a very cool use of the Vertigo zoom effect near the end.
Rated 12 Dec 2006
76
47th
Lots of retarded psychobabble but it's still good.
Rated 02 Jan 2009
70
42nd
The psychology is admittedly pretty silly and overwrought, but the story remains intriguing throughout thanks to the tension between Connery and Hedren. Not one of Hitch's best by any means, but still worth seeing.
Rated 24 Sep 2009
78
66th
I have to give it to Hitchcock for cooking up such a strange movie. It's overall enjoyable, but there is really not much here in the way of awesome Hitchcockian entertainment. Seriously, though, how the heck did he get his hands on such unique scripts?
Rated 05 May 2008
80
46th
Kinda creepy in a bad way.
Rated 14 Mar 2012
70
69th
Objectively, there are a lot of things that aren't good here. The rear projection, the corny special effects, some poor acting by both Connery and Hedren, and Hitchock's usual dose of absurd psycho-babble. Despite that, the story is strong and the strange power struggle between the two main characters is never anything less than compelling. As usual in the Hitchock films of this period, Bernard Herrmann's score is magnificent and really adds to the mood of melancholic mystery.
Rated 13 Feb 2017
68
52nd
If there is one thing Sean Connery is good at, it is being Sean Connery. And he's a pretty damn good Sean Connery here. This starts off pretty well, with a reasonably absorbing plot that leaves you guessing as to where it will end up. There are a few twists and turns, and a couple of nasty moments, and all the players are good value for money. Diane Baker gave me a warm glow inside. The ending is a bit unsatisfying; the amateur psychotherapy feels a bit forced. Not Hitch's best, but decent.
Rated 19 Oct 2020
60
39th
A very different type of Hitchcock movie I wouldn't exactly say it's good but interesting to watch
Rated 18 Jun 2007
65
5th
There's a good plot lurking in here somewhere, and there are a few really good scenes, but overall it's just a boring mess.
Rated 14 Dec 2008
70
51st
Below average for Hitchcock (bad pop-psychology and corny sets are its biggest problems), but not a waste of time by any means. Oh yeah, and Sean Connery wears one hell of a lot of makeup in this movie.
Rated 29 Sep 2007
75
57th
Right around here is where Hitch started to lose the feed, and began to emphasize style over substance, resulting in the aloofness that culminated in the awful Topaz. The Redcam thing looks like something from a William Castle flick (without any of Bill's cheesy fun). Hedren is excellent anyway in a difficult situation, and shows considerable range; Connery is stalwart as well. The final 15 minutes are very intense indeed, despite the Freudianism (I was wondering when Dern was gonna show up).
Rated 20 Dec 2010
93
85th
i loved this movie which many have derided as the point where hitch started "losing it"....i would fix that moment with his next film, torn curtain. however, with marnie hitchcock is still in top form. great performances all around especially from connery, hedren and baker. a great "triangle" in the hitchcock tradition. baker was the revelation for me and was perfectly cast as the all too eager to help sister in law. in spite of three screenwriters, there are several scenes with stupendous d
Rated 30 Jul 2013
3
30th
not hitchcock's best. it had ups and downs...an okay beginning leads to an unbearably awful family scene with terrible dialogue and acting. then after meandering a bit it shoots to a brilliant theft scene that wonderfully feels completely distinct from the rest of the movie. the finale starts great with a kind of cool absurdist flashback, before completely falling to bits with a rather astonishing acceptance of rape. the plot here is fun, but the characterisation borders on ineptitude.
Rated 26 Aug 2010
71
45th
Tippi Hedren has to be the worst actress I've ever seen. But Sean Connery definitely makes up for it.
Rated 03 Mar 2017
30
7th
Hedren's acting was over the top. The sets looked fake and dated. Hitchcock's typical use of score is as overbearing as some of his other films but as this adds nothing to the suspense it just sticks out like a sore thumb. All this and I haven't even mentioned the plot which is absurd and full of nonsensical character motivations. By the time I got to the big reveal I just didn't care anymore and the flashback was maybe one of the worst acted things I have seen.
Rated 03 May 2015
68
69th
A psychodrama where subconscious impulses are made overtly visual. If we're rational about it, the resounding flashes of RED COLOR and the way this trauma relates to criminal impulses are the stuff of armchair analysis. But the effects Hitch gets out of it sure are haunting, and the internal logarithm works.
Rated 19 Feb 2012
96
77th
One of Hitch's best, in spite of its reputation. Great performances from the leads, the woefully underrated and fabulously glamorous Hedren and the very sexy Connery, plus an unjustly overlooked and wonderful supporting turn from stage actress Latham, in her film debut. Impeccable direction, great sense of psychological tension, and wonderfully subtle surreality. The use of color (yellow, pale green, blood red) is also astounding, as is the mise en scène in general. Also note the vulvic purse!
Rated 04 Jun 2011
100
99th
*:) I like it!!!
Rated 17 Apr 2008
85
56th
A good Hitchcock thriller that suffers from having a bit too much psychobabble.
Rated 30 Jun 2015
1
6th
Cheap, outdated, and old fashioned, even by 1964. Hitchcock reducing himself to embarrassing schlock, full of terrible characterizations and laughable psychology. Hedren and Connery are both awkward. It's just an excruciating film, with none of the usual Hitchcockian suspense and wit.
Rated 28 Jun 2016
68
27th
Sigmund Freud strikes again. Marnie is the deepest Hitchcock jumps into Freud as it very closely mimics a psychoanalysis psychotherapy session. Marnie (Tippi Hedren) is repressing some memory and the only way she can live her life normally, free from "sexual aberrations of the criminal female" (yeah, that's the title of one of the books in the movie) is to remember what she has been repressing. The filmmaking isn't bad, it is Hitchcock after all. Sean Connery's character (Mark) sucks too.
Rated 27 Apr 2018
60
38th
Hitchcock would've been buried alive for this film in today's climate. Mark (Connery) practically rapes Marnie on the cruise ship, and that's something in the plot we're expected to be sympathetic with.
Rated 16 Aug 2020
7
57th
Way too long, but as a viewer, I remained invested in Marnie's story by searching for answers behind her psychological scars. Rewarding in the end.
Rated 19 Jun 2021
40
23rd
I don't understand why people think Tippi Hedren is great in this because she is just really annoying whenever she goes into a panic, and that's extremely often in this film. Sean Connery isn't bad, but the plot is the worst of any Hitchcock I've seen so far. It's not all bad, though, and it does have some hilarious quotes.
Rated 25 May 2015
72
68th
As others have mentioned, there are some parts that just feel so dated. But the story is really interesting throughout, and it's fun to see Bond in a Hitch film.
Rated 01 Mar 2008
85
76th
# 296
Rated 13 Nov 2012
76
48th
Awfully dated in terms of psychology, but I really like Connery in this one.
Rated 15 Nov 2012
80
65th
I liked this one better than The Birds. Tippi Hedren is wonderful and Sean Connery is believable but sucks at hiding his accent. Great movie, you should get it.
Rated 08 Jan 2013
40
15th
The final act is so unbelievably horrible that it undermines what is otherwise a half-decent film.
Rated 29 Dec 2012
82
93rd
awesomely performed. favorite Hitchcock so far.
Rated 21 May 2012
79
65th
Despite the psychology at work here being about as deep as a pothole and Louise Latham's hilarious pre-Slingblade accent, Marnie still entertains mostly due to Tippi Hedren's remarkable performance. Not top-form Hitchcock but still better than Topaz or Torn Curtain.
Rated 14 Jun 2021
67
63rd
At points fantastic, though at points, I need to believe that Sean Connery is from somewhere other than Scotland. And some of the background sets are throwing. But Hitchcock brings it with this film.
Rated 16 Nov 2012
70
26th
Lesser Hitchcock; it's fine enough, but relatively forgettable.
Rated 12 Jun 2016
46
7th
Pretty lame, but there were some parts that I didn't hate and actually kind of enjoyed.
Rated 30 Nov 2011
81
62nd
#374
Rated 19 Dec 2008
83
66th
337
Rated 19 Feb 2012
80
88th
One of Hitchcock's most haunting films.
Rated 18 Feb 2015
98
60th
Lovely story and truely haunting scene within this.
Rated 19 Oct 2010
40
97th
"Viewed from the safe distance of four decades after its release, Marnie, perhaps even more than The Birds, emerges as the director's definitive late-period masterpiece." - Fernando F. Croce
Rated 07 Jul 2016
67
43rd
Hitchcock's psychosocial science fictions had transcended camp and anti-humanism before with PSYCHO and VERTIGO, but this one leaves us with diminished returns. Just doesn't have the same otherworldly mystery and magic to it. Not the least, I'm sure, in the suggestion that the solution for childhood rape is an adulthood rape from Sean Connery.
Rated 27 Aug 2010
12
9th
oh come onnnnnn
Rated 01 Aug 2015
50
21st
Starts strong...twists trajectory at the right time and completely goes off the rails. It could have been very good but is it ever not.
Rated 13 Oct 2009
50
33rd
Sean Connery wants to bone Tippy Hedren and will stop at absolutely nothing to achieve this goal.
Rated 13 Sep 2010
82
83rd
One of my favorite Hitchcock films. The main characters are really interesting, the mystery is intriguing, and there are surprises throughout. The use of color (and not just red) is impressive.
Rated 02 Oct 2015
60
38th
Nothing spectacular to see here. Marnie is not holding up well against time, like an old codger and his curmudgeonly ways. #1001Movies
Rated 27 Jun 2012
80
81st
watched: 2012, 2021
Rated 18 Sep 2013
76
53rd
76.000
Rated 21 Feb 2007
65
73rd
Pretty good.
Rated 03 Apr 2015
71
66th
Interesting story, well directed but badly dated. It took way too long time before anything relevant started to happened.
Rated 10 Oct 2016
5
18th
Very dated in the visuals, over emphasizing soundtrack , psychological storyline but still quite entertaining.
Rated 25 Jul 2014
67
32nd
not one of Hitch's best...I'm happy that Grace Kelly had to pass on this one
Rated 13 Jan 2010
83
66th
346
Rated 22 Sep 2008
30
35th
lavet af en gammel og fantasiløs Hitchkok, den fungerer ikke.
Rated 23 Apr 2010
69
53rd
Marnie is not a bad film per se, it's just VERY dated.
Rated 06 May 2012
30
22nd
Freud and Film 101.
Rated 07 Jun 2007
25
7th
Connery under hitchcock? How could they screw this up? Just watch.
Rated 18 Jun 2008
65
59th
I thought this often-panned movie was actually quite good. Seems like Hitchcock peered through some Freud and then decided to drop acid and shoot a movie, just for the hell of it.
Rated 29 Dec 2008
80
70th
Creepy and well done, but just not as substantial as many other Hitchcock films.
Rated 20 Dec 2009
98
97th
One of Hitchcock's finest. Hedren delivers an extraordinary performance. Connery is very good in support. This is Hitchcock at his most elegant and restrained.
Rated 19 Jul 2011
90
80th
Brilliant characters and a fantastic plot. You're never entirely sure who's the victim and who's the villain. A very unsettling movie.
Rated 20 Jan 2016
6
24th
Brave, challenging yet flawed and bound to divide opinion. No matter what you think of it however you've got to admire Hitchcock's audacity in making Marnie. Everyone should try this at least once. You won't forget it.
Rated 13 May 2017
6
44th
the psychological stuff is too explicit, mostly just to move everything forward
Rated 25 Dec 2010
75
55th
74.625
Rated 01 Aug 2009
79
46th
Decent.
Rated 11 May 2018
65
28th
A crazy, traumatized woman needs a man to cure her. I can see how people view Hitchcock as a misogynist.
Rated 08 Jul 2018
70
41st
This would be so much better without the ending. I am averse to explanations that tie it all up, and this fits that bill to a tee. There is so much disturbing ambiguity in the relationship between Rutland and Marnie, one that leaves so much open for interpretation. Of course, without the ending, the crowd doesn't get pleased, but the ending's presence lessens this film as a work of art.
Rated 09 Mar 2021
4
43rd
Man this is a talky movie. Just kinda drags on, making you grasp onto nuggets of thrills like water in the desert. People thought Connery kinda rapey in some Bond movies but he steps it up a notch here with full-on blackmail. He gallantly (?) sticks by his coerced wife who wants nothing to do with him despite 26 year old Diane Baker bending over backward to ride that Scottish pole. Let’s just say in Sean’s situation here I’d discover a preference for brunettes over blondes real quick
Rated 20 Jun 2021
72
42nd
It definitely had a few great moments, and I liked how it all wrapped up. But this was just not my favorite Hitchcock movie at all. I thought some of the acting was not so hot. It felt more dated than the release year. Some Hitchcock movies that are 20 years older felt more modern. Another positive was some of the funny lines.
Rated 01 Jan 2022
4
0th
Truly bizarre and wonderful. A total mess, but very entertaining. I'm not sure how else to describe it. A little oversimplified in the themes and the resolution is a little too neat, but overall, it's great.
Rated 04 Jul 2022
85
98th
3. My favourite Hitchcock I've seen. The premise of the rich equanimous macho (Connery) marrying the pathological liar and kleptomaniac (Hedren) is super intriguing, with Hitchcock proving once again why he's the master of suspense. Acting from both main leads is incredible: Hedren is in a vastly different role than in The Birds, her psychosis and neuroticism all but blasting through the screen, juxtaposed to Connery's collected and powerful presence - a man taking responsibility, being a man.
Rated 13 Jan 2023
60
37th
approved and affirmed by the analysts union
Rated 05 Dec 2022
54
21st
I did not like Tippi Hedren's performance, nor Louise Latham's for that matter. Convenient plot contrivances also harm this film. The manager can't remember 5 numbers so the security of the safe is reduced to getting a key that opens a desk drawer? How can a person live a life at all if they freak out every time they see something red? There is red stuff everywhere! Red is for blood? Shocking. He falls in love with her knowing she is a cheat and a thief?? Sean Connery is excellent.
Rated 22 Apr 2023
90
95th
Still such an underrated Hitchcock gem. It amazingly works both ways as melodrama and psychological -- and psychosexual -- thriller, following this Baltimore tormented thief who can't help but panic in front of the color red and whenever thunder and lightning hit the Earth. Great performances by Hedren and Connery and Herrmann's score also deliver the goods.
Rated 29 Apr 2023
36
14th
Hedren has good moments, and then awful moments. Maybe that's Hitch's fault. Connery is pretty good, although I don't understand his character's motivations. The whole damn thing lacks subtlety, the acting, sets, score, and direction. All of it. And the attempted playful contrivances don't work, like the boss not remembering the safe combination and the janitor's poor hearing. And the psychology of it all is maddening. If you think this movie is a classic, then you are wrong.
Rated 28 Sep 2023
60
23rd
I don't tend to throw this accusation around lightly, but this is almost a text book case of a film that has not aged well. The psychology that drives the plot is complete horseshit ... not even minimally plausible. That's not really my main problem though. The psychology in "Psycho" is even worse, but that film's such a finely tuned machine that it easily survives a horseshit explanation.

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