A yellow handbag fills the frame. Its owner walks away from the camera, poised on high heels, suit clipping her waist, hairdo a geometrical helmet. She is abstract art, a construct of color and couture. We don’t even see her face until she washes the dye from her hair and becomes a blonde. The opening shots of MARNIE are Hitchcock’s ideal of visual storytelling at its purest. Marnie is a serial thief: she stays in a job long enough to learn the safe combination before stuffing her handbag with cash and moving on. But there’s something wrong: she can’t bear to be touched, and a flash of red gladioli or a splash of red ink on her sleeve sends her into a paroxysm of terror. Marnie is caught out by new boss Mark (a dashing Sean Connery), who blackmails her into marrying him and sets about trying to analyze her.
MARNIE is technically brilliant, the suspense shots are some of Hitchcock’s best. But the classic Hitchcock theme of sexuality is also taken somewhere disturbing. It's a film about ownership. “I’ve tracked you and caught you and now I'm going to keep you”, Mark tells Marnie. (Emily Cleaver)
Gala screening in the presence of Tippi Hedren.
No online tickets available! Tickets are sold by phone and at the Viennale pre-sale offices!
From the collection oft he British Film Institute
- Tippi Hedren - Marnie Edgar
- Sean Connery - Mark Rutland
- Martin Gabel - Sidney Strutt
- Louise Latham - Bernice Edgar
- Diane Baker - Lil Mainwaring
- Jay Presson Allen based on a novel by Winston Graham
- Robert Burks
- William Russell
- Waldon O. Watson
- George Tomasini
- Bernard Herrmann
- Robert Boyle
- Edith Head