Marnie, the thief is a strange film that could be considered as a review Color Remember , film addressed the teacher in 1945 and which already made use of psychoanalysis to develop a story based on a clinical case. But it would be unfair to stay Marnie there and see as a revamped version of that simple black and white film, although the homogeneous elements of both films are more than evident.
We're probably talking about the last great Hitchcock film, after the masterpiece that was Birds (1963). Again returned to work with Tippi Hedren very reluctantly, because for the role you always wanted to Grace Kelly, in what would have led to his return to cinema through the front door. For the male protagonist chose Sean Connery, very fashionable at the time, especially the films of the saga of James Bond, to serve as "doctor Freud "with Marnie. If You psychoanalytic sessions were conducted by Ingrid Bergman for your patient / loved Gregory Peck, here is the opposite, is the male role who seek release of the beautiful female neurosis.
We're probably talking about the last great Hitchcock film, after the masterpiece that was Birds (1963). Again returned to work with Tippi Hedren very reluctantly, because for the role you always wanted to Grace Kelly, in what would have led to his return to cinema through the front door. For the male protagonist chose Sean Connery, very fashionable at the time, especially the films of the saga of James Bond, to serve as "doctor Freud "with Marnie. If You psychoanalytic sessions were conducted by Ingrid Bergman for your patient / loved Gregory Peck, here is the opposite, is the male role who seek release of the beautiful female neurosis.
Marnie, the thief is not a Hitchcock film to use. British film director does not use theft Marnie to create the suspense about whether or not it will be discovered by the police as would be common, this fact is transparent to the viewer, but focuses on the mystery of neurosis Marnie from the premise: Why need to steal this beautiful woman ? Moreover, one of the best interests of this film is Sean Connery's character. The love he feels for Marnie is very peculiar, because the question as if it were a caged animal, showing a fetishistic love reflected especially in the sequence of rape in the boat. What attracts you to it is precisely because he is a thief, so the sexual desire, and it is unusual for the time the deal dominating and humiliating sometimes performed with her, coming to blackmail and make you marry him for not disclosing his secret police.
therefore makes a Hitchcock film and a plot purely psychoanalytic suspense away from police. In this way makes your work in a drama about a tormented and sexually repressed woman who needs to steal. It would still have a splendid thriller, for example, that brilliant and famous sequence in which Marnie steals in the office where he works and has to flee without being discovered by the cleaning lady.
therefore makes a Hitchcock film and a plot purely psychoanalytic suspense away from police. In this way makes your work in a drama about a tormented and sexually repressed woman who needs to steal. It would still have a splendid thriller, for example, that brilliant and famous sequence in which Marnie steals in the office where he works and has to flee without being discovered by the cleaning lady.
Hitchcock returned to work once more with Bernard Herrmann, who composed a soundtrack haunting and powerful body, accentuated especially in times when Marnie is prey to fits of hysteria that makes you red and storms. Photography by Robert Burks is fundamental about this film, where the color is so important.
And, finally, a story not without interest to the end result that Hitchcock wanted his film. The original writer was Evan Hunter, who wanted to dispense with the aforementioned rape scene with the excuse that Sean Connery's character would become unpleasant to the public. Hitchcock declined sharply and the script ended up being signed by Jay Presson Allen, based on the novel by Winston Graham. Bravo, once again, Sir Alfred.
And, finally, a story not without interest to the end result that Hitchcock wanted his film. The original writer was Evan Hunter, who wanted to dispense with the aforementioned rape scene with the excuse that Sean Connery's character would become unpleasant to the public. Hitchcock declined sharply and the script ended up being signed by Jay Presson Allen, based on the novel by Winston Graham. Bravo, once again, Sir Alfred.
EDUARDO MUÑOZ
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