"Marnie" (1964)

Among the most explicitly psychological of Hitchcock's films, "Marnie" examines the sexual anomalies of female criminals, and the effect that repressed trauma can have on otherwise strong and confident adults. Marnie (Tippi Hedren) is a serial offender, conning herself into jobs, emptying the vaults and then moving on, never looking back. Unfortunately for her, she attracts the attentions of Mark Rutland (Sean Connery, fresh from his first James Bond film), the boss at her new company who reads her like a book and begins to trap her with his desire.

Hitchcock's films became increasingly stylised, as he began to develop his own language of suspense, and here in "Marnie" that perhaps reached its peak, with some excellent set pieces employing a great use of dramatic tension, particularly when Marnie is escaping after a robbery, unaware of the cleaner (who we see) until the last minute. Taking off her shoes and placing them in her pockets, she creeps down the hall, unaware again that one shoe is slipping and will hit the floor any moment...only for it to do so and for nothing to happen - the cleaner's deaf. This wicked sense of humour is the perfect example of what made Hitchcock so loveable, despite the often disturbing content of his films.

Another distinctive stylistic trait of this film is the red filter that fills the screen every time Marnie sees something red and has a panic attack. This reaction stays unexplained for a long time, before flashbacks begin to permeate the narrative and hint at a scarring event from her childhood, which has not only resulted in an aversion to all things red but also a horror of physical intimacy. Beginning with what was at the time an extremely sexy kiss between her and Mark, the film examines sexuality in a way that would have been unfamiliar to a contemporary audience, before common discussions of psychological damage and unusual sexual pratice. At the heart of the film is an expertly handled rape scene, with the tension building for several minutes after Mark has discovered Marnie's repulsion towards physical initmacy. The moment when he tears her towel from her and she freezes with terror, is a moment we knew must come but felt would be impossible to portray. A sympathetic "Sorry" from Connery, and an distraught expression on his face, is all we need to understand the complexities of their relationship, before he moves in to take what he can't resist. The scene is handled so well that afterwards we are not disgusted with Mark and he is able to retain our respect and sympathy - perhaps because Marnie's 'defects' mean we find it hard to trust her.

Extra depth is added to the film with Mark's character, a publisher with a background in zoology, he becomes intrigued by the 'case' that Marnie presents, and resolves to cure her, taking her into the heart of her trauma by returning home and forcing her to face her demons. One of the film's taglines was Marnie's snap at Mark, "You don't love me. I'm just some sort of wild animal you've trapped", to which his reply is "Of course", making no secret of his desire to possess her, keep her and change her. Yet, Connery's performance suceeds in making him likeable throughout.

Another great performance is provided by Louise Latham as Marnie's mother, playing far beyond her years, and again conveying an extremely complex character, torn between protecting her daughter and the necessities of making a living (by prostituting herself to sailors). Mark may have brought them together to confront the dark event in their past, but he soon realises he has no place here, as Marnie and her mother sit facing each other, like tired fighters, as Latham delivers an excellent monologue that pushed the boundaries of good taste for the time.

The film does feel rather dated, however, particularly as Hitchcock was employing techniques fast-becoming old fashioned at the time; choosing to paint backdrops rather than shoot on location, and using a dummy horse for Marnie's desperate ride across the countryside. Another aspect, which niggles me about all of Hitchcock's wok, is the sudden way the film ends once the climax has past and the situation has been resolved. There is no epilogue, no further context for Marnie's story, and it always seems a rather blunt, ruthless way to stop the action and leave the characters to their fate.

Nonetheless, "Marnie" is a highly distinctive contribution to Hitchcock's ouevre, and an interestingly feminine addition from a director so often considered misogynistic. I'm not a massive fan of this one, it seems a little unreal, but it shows great talent and skill, and further proof of Hitchcock's deserved place among the pantheon of directors.