Marnie is the Alfred Hitchcock movie that makes the filmmaker's off-screen behavior impossible to ignore, by transposing it into fiction.
I’m not partial to readings of films reliant on extratextual context. It’s lazy, small-brained, usually indicative of binary thinking. But there are a couple of examples that seem unavoidable. One, Woody Allen’s. Centered around a 42-year-old comedy writer in New York City dating a 17-year-old high school prep student, the premise is too eerily similar to Allen’s own contemporaneous vocation and sexual proclivities.is another such case.
Over the course of the film, Hedren vacillated between feeling secure with and imperiled by Hitchcock. She had a certain degree of appreciation for him,was “ahead of its time” because “people didn’t talk about childhood and its effects on adult life. It was taboo to discuss sexuality and psychology and to put that all in a film was shocking.
The next day, Marnie attempts to envelop herself within it. The trauma of this encounter has wrecked her so completely that she’s endeavored to kill herself. Mark, however, “saves” her, and their marriage continues. Likely continual rape coalesces with Marnie’s continued experience of flashes of red . Paternal caretaker and ardent lover in one, Mark therapizes Marnie through it.
The resonance of her character, though, doesn’t entirely lie in Hitchcock’s characteristically meticulous storyboarding but through the spontaneous glimpses of perturbed melancholy that flicker through Hedren’s performance—something Hitchcock didn’t quite have control of. Marnie is a character whose identity is at once carefully constructed but also refuses understanding, one that’s animated and frenzied in fear but inanimate and passive in desire.
The final sequence of Hitchcock’s film consists of Marnie attempting to steal from Mark once again, and him overlooking her as he takes her back home to speak with her mother. Marnie blubbers to him and her mother about her trauma, Marnie and her mother reach a moment of understanding, and Marnie realizes that despite her long-standing fear of him, she needs Mark.
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