Marnie (1964)

Movie
German title	Marnie
Original title	Marnie
Country of production	United States
original language	English
Publishing year	1964
length	130 minutes
Age rating	FSK 16
Rod
Director	Alfred Hitchcock
script	Jay Presson Allen
production	Alfred Hitchcock for Universal Pictures
music	Bernard Herrmann
camera	Robert Burks
cut	George Tomasini
occupation
Tippi Hedren : Marnie Edgar Sean Connery : Mark Rutland Diane Baker : Lil Mainwaring Louise Latham : Mrs. Bernice Edgar Martin Gabel : Mr. Sidney Strutt Alan Napier : Mr. Rutland Bob Sweeney : cousin Bob, lawyer Milton Selzer : man on the racetrack Mariette Hartley : Susan, secretary S. John Launer : Mr. Sam Ward Kimberly Beck : Jessie, child next door Edith Evanson : Rita, cleaning lady Bruce Dern : Sailor Melody Thomas Scott : Marnie as a child

Marnie is with psychological interspersed elements thriller directed by Alfred Hitchcock in 1964. The film, starring Tippi Hedren and Sean Connery in the lead roles is based on the novel by Winston Graham .

action

Marnie Edgar, who works as a secretary under a false name, stole nearly $ 10,000 from her boss, tax attorney Sidney Strutt. She escapes from the scene and first visits her horse on a ranch in Virginia before she makes her way to her mother Bernice in Baltimore , who lives near the harbor. Although Marnie supports her handicapped mother with money and showered with gifts, the mother behaves aloof and even seems to like Jessie, the girl next door, more than she does.

To get her money back, Marnie applies with a new social security card to Mark Rutland's publishing house for a position as a secretary. Mark Rutland is rich, he's a widower and has seen Marnie at Strutt's before. He suspects she is a thief. He feels very drawn to her. When he learns that she is interested in horse racing, he invites her to a racetrack. After he introduced her to his father and gradually got too close to her, she ransacked the company vault and disappears. Mark does not display it, but puts the money from his own pocket back in the safe. He has a detective look for her and he wants to find out the background to her behavior. Since he has her in his hand, knowing her criminal past, allegedly making himself liable to prosecution if he does not report her, he extorts her consent to a marriage.

The wedding night on a luxury steamer is catastrophic. Marnie refuses and Mark promises not to touch her. He sticks to that for the time being. One evening, however, he intrudes into the shared bedroom and rapes her. When he wakes up, Marnie's bed is empty. Mark searches the ship, finds her lifeless in the swimming pool and can save her from drowning. You break off the trip and return home. The facade of an intact marriage is maintained.

Meanwhile, Mark's jealous ex-sister-in-law Lil, who is in love with him, has become suspicious. When she discovers that Mark is reading books on sexual dysfunction in women, she investigates and finds that Marnie is neither a widow nor an orphan, but has a mother in Baltimore. Mark, who desperately wants to hold her and help her, suggests psychotherapy, which she indignantly refuses. He has observed several times that Marnie, who is haunted by nightmares, is terrified of the color red and of thunderstorms. He playfully involves her in an association test , which almost ends in Marnie's collapse, whereby Mark suspects the traumatic causes of her fears and behavior.

The attorney Strutt arrives at a party, whom Lil invited after she found out that Mark had settled the theft from Marnie. Marnie panics when she recognizes Strutt. She wants to flee again. But Mark forces her to go on the fox hunt that takes place the following morning and not to reveal herself or the family in front of Strutt. When the dogs attack the prey and their eyes fall on the red jacket of a rider, she spurs her horse in a panic; the horse runs away with her and is seriously injured when jumping over a wall. She procures a pistol and shoots the horse to save him further suffering. Back in the house, she takes the keys to the company safe. She opens the safe, but is now unable to touch the wads of money. Mark, who followed her, forces her to take him to see her mother Bernice in Baltimore. He had found out through a detective that Marnie's mother was involved in a murder case when Marnie was still a child, and the mother is supposed to finally explain what happened that night.

While a violent thunderstorm rages, Mark pulls Marnie into the house. When the mother hears that Marnie is married to Mark, she loses her composure, hits him and can hardly be tamed. At that moment, Marnie's memories of the night come back. Her mother, who got by as a prostitute, regularly received sailors in “white suits” and whenever they knocked on the door, Marnie had to leave her maternal bed and sleep on a couch. When a suitor took the frightened child in his arms during a thunderstorm and kissed it to calm him down, the mother struck the man down, believing that the sailor was trying to assault her daughter. When he struggled and seriously injured the mother, which led to her walking difficulties, Marnie came to her mother's help and killed the man with a poker , who lost a lot of blood.

At the trial, the mother had assumed all the guilt for the sailor's death and then tried to erase any memory of the crime in the child. After the incident, she had vowed to make Marnie a "decent" person in the hope that "God would forgive the child for what he did." What she also succeeded in doing, as Marnie notes with bitterness: The child may have become a thief and a liar, but a woman incapable of sexual relations and in this respect actually "decent". The mother's endeavor to instill disgust and loathing for men in her daughter and her life in a lie explain her cold and dismissive behavior towards Marnie, from whom she always had to withhold the truth about what happened at the time. In the penultimate scene, however, Bernice says she has never had anything to herself in her life and that Marnie is the only thing in life that she has ever loved. When Marnie hugs her mother tenderly, she is incapable of a loving gesture, but says goodbye to Marnie with "Goodbye, sugar pop". Mark leads Marnie out of the house and they get into her car.

subjects

With Marnie turned Alfred Hitchcock on Spellbound (1945) with Ingrid Bergman and Gregory Peck the third and final film in a series of feature films which he directed from 1960 to 1964, and the deal intensively with psychological issues. While in Psycho it was the psychopath Norman Bates in the leading role and the relationship between the main female character (also Tippi Hedren ) and the mother of her boyfriend was dealt with in The Birds , Marnie is not just about the cause of Marnie's frigidity and kleptomania . As a special form of fetishism , the film also sheds light on Mark's almost manic fixation on this woman, who, despite or because of her lies, deceit, and massive resistance to his advances does not want to leave her. What all three films have in common is a problematic mother relationship between one of the two protagonists. Other topics are dominance behavior , sexuality and violence as well as jealousy paired with malice, which Marnie feels exposed in her relationship with Lil or with the child Jessie.

production

Hitchcock was able to work with a well-rehearsed team. For cameraman Robert Burks it was the twelfth, albeit last, joint film with Hitchcock. Its longtime editor George Tomasini died shortly after the film was completed, and Bernard Herrmann , who had been Hitchcock's preferred film composer since 1955, received no further commissions thereafter. For art director Robert F. Boyle , who had worked as a production designer with Hitchcock in 1942 and 1943 , it was the third collaboration with Hitchcock after Die Vögel and North by Northwest .

The script

In January 1961, Winston Graham's novel Marnie was published, and Hitchcock, who had received a preprint of the book through an agent, acquired the film rights that same month. During the filming of Die Vögel , he commissioned Joseph Stefano , screenwriter of Psycho , for a treatment . Stefano's draft follows the original book pretty closely, it is about a woman for whom two men apply. There is also the part of the psychotherapist who subjects Marnie to an analysis. After shooting The Birds , for which Evan Hunter had written the script, Hitchcock commissioned Marnie, not Stefano, but Hunter . In the version of Hunter the part of the psychiatrist is omitted and Mark himself begins with psychotherapeutic attempts. In Hunter's book, the constellation two men and one woman becomes the constellation one man and two women: Mark, his jealous sister-in-law, and Marnie. There were then serious differences between Hunter and Hitchcock over the rape scene that Hunter wanted to rewrite. However, Hitchcock worked out storyboards for his films in which, in addition to the content and sequence of the film, he also specified detailed settings (long shots, close-ups, light) and editing. He did not tolerate interventions or changes on the part of the scriptwriters, who only had to write the texts of the dialogues for him. Hitchcock himself says of his scripts: “I do two thirds of the book before he starts writing and one third after he has written it. But I'm definitely not going to take anything that he puts into the script himself, other than words. I mean any kind of cinematic narrative method - how can he know? ”Every single shot was drawn in the storyboard and was only shot in this version. Hunter was fired and replaced in May 1963 by Jay Presson Allen , who had never written a script before.

Design and photography

Hitchcock called in his art director and production designer Robert F. Boyle at an early stage in the development of the script . Marnie was their fifth film together after The Stranger on the Train (1951). The set and the background play an eminent role in Hitchcock's films: "All backgrounds must function," said Hitchcock in an interview. Unlike in Hollywood at the time, his long-time cameraman Robert Burks was involved in the creation of the storyboard from a relatively early stage.

The obvious artificiality in the production design was controversial among his technical staff, but Hitchcock insisted on this despite their objections. Almost all of the film shot in Technicolor was shot in neutral pastel colors , broken and muted reddish browns, beige and green tones, or gray. Mark Rutland mostly wears gray, Marnie usually wears dresses in subtle colors, off-white, brown, gray or black. Strong, pure colors have a dramatic function in the film: In addition to black or dark red, Lil only wears orange and poison green when she begins to initiate her intrigues. In Marnie's first appearance in the film, the color yellow dominates in the form of her bag with the loot, which is prominently placed in the picture. The yellow repeats itself in her dress the moment she is completely happy, swings barefoot on the barefoot forio and gallops away. Red, especially red on white, like the blood-red splash of ink on her blouse, is always the trigger for her panic attacks. Burks used red filters in these panic scenes . As Marnie recalls the traumatic night at her mother's house, thick red blood oozes from the sailor's head, which eventually floods the entire screen. In the flashback scenes , Burks worked with telephoto and wide-angle lenses , which he had already experimented with in Vertigo .

The occupation

For the cast of Marnie Edgar, Hitchcock tried to win Grace Kelly in 1962 . The actress, meanwhile Princess of Monaco , initially accepted, but later revoked her acceptance. After that, work on the film ceased, and Hitchcock first turned The Birds with Tippi Hedren in the leading role. Hitchcock had seen Hedren, who had previously had little film experience and had worked as a model and on television shows, in a commercial, invited them to his home and finally invited them to screen tests. The footage, in which he had her play scenes from his earlier films, lasted two days and cost MGM $ 25,000. While filming The Birds , he offered her the role of Marnie.

According to Jay Presson Allen, Hitchcock had watched footage of Connery with her and found the British actor to be suitable for the role despite his distinctive Scottish accent. Connery just had James Bond chasing Dr. No turned off when he received a request through an agent whether he would like to play the male lead in a Hitchcock film. Connery, who was due to start filming the next Bond film following Marnie and who feared being locked into the role of an action hero, immediately accepted. Mark Rutland was Connery's first major character role and at the same time an approach to Hollywood.

For Louise Latham, who plays Marnie's mother Bernice Edgar, it was the first ever role in a movie. Latham was 42 years old at the time; H. only seven years older than Tippi Hedren, and had to play the role of an attractive blonde just over 20 years old, as well as Marnie's old and careworn mother.

Filming

Filming began on November 25, 1963, a day later than planned for the murder of J. F. Kennedy, and lasted until March 11, 1964.

Most of the filming took place in the studio. Exterior shots were on the Atlantic City Race Course in Mays Landing , the Philadelphia 30th Street Station and fox hunting in the Blue Ridge Mountains in Virginia rotated. Most buildings, such as For example, the hotel in which Marnie is staying in Virginia was recreated in the studio based on specific models, and the appropriate backgrounds were added through matte painting or rear projections . The street in Baltimore where Marnie's mother lives was also reconstructed in the studio. While in Baltimore the street ends with a view of a hilly landscape, in the film the street ends at a harbor with the huge docked ocean liner.

For the close-ups of Hedren and Diane Baker during the fox hunt Hitchcock used a treadmill ( Treadmill ) and a "mechanical horse" of the Walt Disney Company . The horse Forio was doubled in these scenes. Hedren's hairstyles were created by the French star hairdresser Alexande de Paris, while Hedren's and Latham's wardrobe was designed by the multiple Oscar-winning costume designer Edith Head .

The film was shot in Technicolor .

music

After six previous films, Marnie was Herrmann's seventh and final collaboration with Hitchcock. Herrmann completed the score for Hitchcock's next film, Torn Curtain (1966), but Hitchcock rejected it. Hitchcock then replaced him with John Addison , but it remained with this unique collaboration.

Herrmann's music accompanies scenes from the film that take place in the present. Clearly different from this are Marnies in faded colors, memories turned almost in black and white that are not accompanied by music. In general, there are several scenes that run quietly, without a soundtrack, at most with a few dialogues, such as B. Marnies clearing out the safe of her former employer Strutt.

There are a number of recordings of the film music for Marnie , both on scrapbooks and as single albums. In 2000 the Royal Scottish National Orchestra played a completely new recording under the direction of Joel McNeely . However, none of these new recordings reproduce the title music as it can be heard in the opening credits.

Nursery rhyme

When Marnie visits her mother in Baltimore, with a crocodile leather bag on her arm, children chant the verses “Mother, Mother, I am ill, / Call for the doctor over the hill./ In came the doctor, / In came the nurse, / In came the lady with the alligator purse./ Measles, said the doctor./ Mumps, said the nurse./ Nothing, said the lady with the alligator purse./ Out goes the doctor, out goes the nurse, / Out goes the lady with the alligator purse ”and recite the verses a second time at the end of the film when Marnie and Mark leave the house.

Cameo

In the first few minutes of the film you can see Hitchcock stepping out of a hotel room and following Marnie, who is walking down the aisle with a porter, with his eyes, then turns around and looks directly at the camera.

synchronization

role	actor	Voice actor
Mark Rutland	Sean Connery	Heinz Dragon
Marnie Edgar	Tippi Hedren	Margot Leonard
Lil Mainwaring	Diane Baker	Renate Danz
Mrs. Bernice Edgar	Louise Latham	Leny Marenbach
Mr. Sidney Strutt	Martin Gabel	Kurt Mühlhardt

publication

In his trailer for Marnie , Hitchcock himself appears, introduces the protagonists of his film and gives some ironic hints about its interpretation.

The film was released in American cinemas in July 1964. In May 2000, MCA Universal Home Video released a DVD of the film. The response in the American press has now been much more positive than it was after the first showing in 1964. The Rotten Tomatoes film achieved a rate of 82% based on 84 reviews. In 2008 Universal Pictures Home Entertainment released a DVD with a 4-page booklet and extensive bonus material with interviews from actors and members of the film crew as part of the “Alfred Hitchcock Collection” series.

In the digitally processed version of the Technicolor film shown on German television in 2019, with its tendency to brightly colored colors, Hitchcock's refined and sensitive color direction can only be recognized to a rudimentary degree. "The dreamlike, almost hallucinatory quality of the film", which Daniel Spoto speaks of in his book, has been lost in this version.

reception

Although the film had a solid box office, it was - unlike its predecessor, The Birds - not a success with audiences and American film critics. Marnie did not meet the audience's expectations of a typical Hitchcock thriller. The criticism criticized the simplified popular psychology of the film and mocked the outdated and involuntarily funny trick technique. Only in retrospect, after the publication and reception of Truffaut's book Le cinéma selon Hitchcock (German Mr. Hitchcock, how did you do it? ) (1966) was the quality of the film recognized. Donald Spoto writes in his biography of Hitchcock: “Years later, 'Marnie' exhibits an intimate and strange attraction that is unique in Hitchcock's work. The lack of structure and the dreamlike , almost hallucinatory nature of the film make it possible for the viewer to empathize with his tormenting emotions . In contrast to his other works, the film consumes itself in an open desire for love. "

The film polarizes audiences, film critics and film studies to this day. When it started, it was consistently rated as Hitchcock's weakest work to date. This is how Edith Olive judged him in her film review in the New Yorker : "Alfred Hitcock's new Marnie is an idiotic and gossip film with two horrific performances in the leading roles ..."

Tony Lee Moral writes in his book that even 50 years after the film was released, none of Hitchcock's films polarized audiences so strongly. The verdict on the film fluctuated between “sadistic, insulting and misogynistic” to “a tableau about gender, identity and sexuality in our society” and “ Marnie with the scene of sexual abuse in marriage, would have been told completely differently today, or would it have perhaps not told at all ”, a statement that is exemplary for a new look at the film in connection with the MeToo debate, which was initiated in the USA in autumn 2017, and Hitchcock's film was also seen from another perspective.

The Internet journal C&B, which devotes a comprehensive and richly documented analysis to the film, describes Marnie as "a razor-sharp exploration of sexual violence, the psychological consequences of such inexcusable acts and the complexity of the human soul". For Canadian film critic Robin Wood, Marnie is "one of Hitchcock's richest, fully executed, and mature masterpieces."

On the occasion of Hitchcock's 80th birthday, Hans-Christoph Blumenberg wrote in Die Zeit : “When this, one of Hitchcock's most daring, experimental films, came out 15 years ago, many critics and viewers complained about alleged formal inadequacies: about the obviously painted background [... ], about seemingly sloppy rear projections whose artificiality can be seen at first glance. In addition, it was said, the story was very banal, not particularly exciting and unfortunately also tarnished by typical American vulgar psychology. Anyone who sees 'Marnie' today is struck by the audacity of this film. The stage-like, 'false' character of the exteriors turns out to be a perfect expression of the loss of reality with which […] the main character has to struggle. Of course, Hitchcock didn't work sloppily (he never leaves anything to chance […], arranging every scenic detail in a scrupulous manner), but he allowed himself to mirror the heroine's psychological state directly in the outside world; to visualize the distortions, curvatures of the inner world ”.

Reception in the opera and in the film

In 2018 the English National Opera produced the opera Marnie in cooperation with the Metropolitan Opera based on the novel . The music was composed by Nico Muhly , the libretto is by Nicholas Wright. Sasha Cooke and Daniel Okulitch sang the two leading roles in the London premiere cast.

Under the title The Trouble with Marnie , Laurent Bouzereau produced a 60-minute video based on his own script in 2000, in which he also directs and acts as a commentator. It contains a number of comments and reminders etc. a. by Alfred and Patricia Hitchcock , by the main actors involved, screenwriters, other members of the Marnie crew and some comments from film scholars. Bouzereau goes into detail about Hitchcock's experiences with German expressionist film , from which he adopted some stylistic devices that appear antiquated to the unbiased viewer, such as: B. the unrealistic or expressive use of color or painted backgrounds, which he insisted on, despite the objections of his employees.

In 2012, British director Julian Jarrold directed the television film The Girl, starring Sienna Miller , Toby Jones and Imelda Staunton as Alma Hitchcock , which is about Hitchcock's turbulent relationship with his star and has won several awards. The genesis of Marnie and the director's growing sexual obsessions while filming take place in the film.

Alfred Hitchcock and Tippi Hedren

In her autobiography Tippi. A Memoir raised the now 86-year-old serious allegations against Hitchcock for sexual harassment and the destruction of her film career. Hitchcock had sexually harassed her several times; His endeavors to control her completely extended into her private life. He said he was jealous of their contacts with male actors, and both Rod Taylor and Sean Connery received instructions "not to touch them." After she clearly dismissed him, the director and star, as is unanimously reported, only communicated with each other through third parties.

She accuses him of destroying her career out of revenge. In fact, she didn't get a role during the time she was still under contract with MGM . She had her next appearance in the cinema in 1967 in a minor supporting role in Charles Chaplin's The Countess of Hong Kong . It wasn't until 14 years later that she was occasionally back on screen.

When asked by a journalist from the time , “Has your view of Hitchcock's art been influenced by your experience?” She replied, “No. I deeply admire his films. Marnie is the work of a genius. This hypnotic imagery! The film shows what happens when a traumatic experience is left untreated. At that time there was no awareness among the American public that one terrible experience can affect one's entire life. Marnie was a breakthrough, downright visionary. ”When asked,“ Did Hitchcock's wife Alma know about it? ”She replied,“ She even asked me about it. She said, 'I'm so sorry to have to go through this.' I looked at her in disbelief and said, 'You could stop him.' But everything revolved around him, the master. You let him get away with everything. "

swell

• Winston Graham : Marnie. Piper, Munich and Zurich 1994. ISBN 3-492-11931-X
• Marnie Movie Script
• Alfred Hitchcock papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

In the Margaret Herrick Library of the Academy Museum in Los Angeles there is an extensive Hitchcock collection u. a. a bundle of photos of Tippi Hedren's hairstyles and design drawings and photographs of her wardrobe.

literature

• Robert A. Harris, Michael S. Lasky, eds. Joe Hembus : Alfred Hitchcock and his films. (OT: The Films of Alfred Hitchcock) Citadel film book from Goldmann, Munich 1976. ISBN 3-442-10201-4 .
• Robert L. Kapsis: The Historical Reception of Hitcocks's Marnie. In: Jounal of Film and Video. Vol. 40, No. 3, 1988. pp. 46-63.
• Donald Spoto: Alfred Hitchcock and his films. Heyne, Munich 1999. ISBN 3-453-15746-X .
• Pas de printemps for Marnie d'Alfred Hitchcock . Cahiers du Cinéma. December 1, 2001. ISSN 0008-011X
• Robin Wood: Hitchcock's Films Revisited. Columbia Univ. Press, New York 2002, ISBN 978-0-23112695-3 .
• Caroline Eliacheff, Nathalie Heinich: Mothers and Daughters. A triangular relationship. About literature and film motifs. Walter-Patmos, Düsseldorf 2004, ISBN 3530421758 . P. 89ff. (Chapter “Neither mother nor wife”).
• Richard Allenhard: Hitchcock's Color Designs. In: Angela Dalle Vacche, Brian Price (eds.): Color. The Film Reader. Routledge, New York 2006. pp. 131-144.
• Lucy Bolton: Film and Female Consciousness. Irigaray, Cinema and Thinking Women. Palgrave Macmillan, London 2011, ISBN 978-1-349-32501-6 .
• William Rothman: The Murderous Gaze. 2nd Edition. New York State University, New York 2012, ISBN 978-0-67440410-6 . Pp. 349-464.
• Tony Lee Moral: Hitchcock and the Making of Marnie. Revised edition. Scarerow, Lanham (Maryland) 2013, ISBN 978-0-81089107-4 .
• John Belton: Color and Meaning in Marnie. In: Simon Brown, Sarah Street, Liz Watkins (eds.): Color and the Moving Image. History, Theory, Aesthetics, Archives. Routledge, New York / London 2013. pp. 189–195.

Web links

Commons : Marnie, Trailer screenshots  - Collection of pictures, videos and audio files

• Marnie in the Internet Movie Database (English)
• Marnie atrotten tomatoes(English)
• Review by Ulrich Behrens in the Filmzentrale
• Psychological interpretation of the film ( Memento from May 23, 2009 in the Internet Archive )
• Discussion of the film music
• Comparison of the cut versions FSK 16 - US DVD by Marnie at Schnittberichte.com
• Now, we come to Marnie. Excerpt from Truffaut's interview with Hitchcock, 1964

with excerpts from the storyboard and numerous black and white photos from the set by Bob Willoughby

• Marnie Movie Script
• Hanns-Georg Rodek : Der Herr der Ängste welt.de, August 13, 1998, accessed on July 17, 2019

Individual evidence

1. ^ Certificate of Release for Marnie . Voluntary self-regulation of the film industry , December 2008 (PDF; test number: 32 198 DVD).
2. ↑ Tony Lee Morals: Hitchcock and the Making of Marnie. Revised edition. Scarerow, Lanham, Maryland 2013. Chapter 5.
3. ^ ^{A b} Tony Lee Morals: Hitchcock and the Making of Marnie. Rev. ed. Lanham, Maryland: Scarerow 2013.
4. ↑ Chris Pallant, Steven Price: Storyboarding. A critical history. Palgrave Studies in Screenwriting. Springer, New York 2015. pp. 111–127.
5. ^ ^{"I would say I apply myself two-thirds before he writes and one-third after he writes. But I will not and do not photograph anything that he puts in the script on his own, apart from words. I mean any cinematic method of telling it - how can he know? “} Peter Bogdanovich Interviews Alfred Hitchcock Filmmaking. 350., accessed July 17, 2019.
6. ↑ Hanns-Georg Rodek: The Lord of Fears. welt.de, August 13, 1999, accessed on August 2, 2019
7. ↑ ^{a b c d} Marnie. Hitchcock Collection. Universal. DVD 2009. Bonus material.
8. ↑ ^{a b c d} [Flashback: Hitchcock Talks About Lights, Camera, Action] Interview by Herb A. Lightman, accessed July 31, 2019
9. ^ Hitchcock Talks About Camera, Lights, and Action. (1967) in: Hitchcock on Hitchcock. Vol. 1: Selected Writings and Interviews. Ed by Sidney Gottlieb. University of California Press, Berkeley 1997. p. 313.
10. ↑ James Morrison: On Burks. Film Reference, accessed August 7, 2019
11. ↑ Sarah Levy: Between the Lines. Spiegel Online from September 14, 2012.
12. ↑ The birds attacked me but Hitch was scarier. The Times, April 5, 2005, accessed July 17, 2019
13. ^ Marnie Music Bernard Herrmann Society, accessed July 14, 2019
14. ↑ Bernard Herrmann's Alfred Hitchcock's Marnie. The Complete Motion Picture Soundtrack discogs, accessed July 14, 2019
15. ^ Sarah Street: Hitchcock's Haberdasher. In: Sidney Gottlieb, Christopher Brookhouse (Eds.): Framing Hitchcock. Selected essays from the Hitchcock Journal. Wayne State University Press, 2002. p. 152
16. ^ Marnie in the German dubbing index
17. ↑ Critic reviews for Marnie , accessed July 14, 2019
18. ^ Donald Spoto: Alfred Hitchcock and his films. Heyne, Munich 1999.
19. ^ 'Marnie': Hitchcock's Controversial Exploration of Sexual Violence and the Complexity of the Human Psyche Cinephilia & Beyond, accessed July 16, 2019
20. ↑ Complete quote: ^{"Alfred Hitchcock's new Marnie is an idiotic and trashy movie with two terrible performances in the leading roles, and I had quite a good time watching it."} Quoted from She Shoots Horses Don't She. Cultural Snob, January 18, 2007, accessed July 18, 2019
21. ↑ Tony Lee Morals: Hitchcock and the Making of Marnie. Revised edition. Scarerow, Lanham (Maryland) 2013. p. 253.
22. ↑ ^{"[...] now, with its scene of spousal sexual abuse, it's also hard not to see a story that would have to be told very differently today - or maybe, simply, not told at all".} Stephen Whitty: The Real Mystery Behind Hitchcock's “Marnie” - Is It a Cinematic Crime Against Women? Insidehook, October 9, 2018, accessed July 16, 2019
23. ↑ ^{[...] a razor-sharp exploration of sexual violence, the psychological consequences of such inexcusable actions and the complexity of the human psyche} . Cinephilia & Beyond , accessed July 22, 2019
24. ↑ ^{"[...] one of Hitchcock's richest, most fully achieved and mature masterpieces."} Quoted from: Robin Wood: Hitchcock's Films Revisited. Columbia Univ. Press, New York 2002. pp.
25. ↑ Hans-C. Blumenberg: Hitchcock Archipelago . Zeitonline, August 10, 1979, accessed August 3, 2019
26. ^ From the MET: Marnie - Opera by Nico Muhly. January 10, 2019, accessed July 14, 2019 . 
27. ↑ Richard Porton: Marnie at the Metropolitan Opera: A Retrograde Adaptation in: Cineaste, accessed July 23, 2019
28. ↑ Tim Ashley: Marnie Review. The Guardian, November 19, 2017, accessed July 13, 2019
29. ↑ IMDb
30. ↑ The Trouble with Marnie (2000), Transcript , accessed August 4, 2019
31. ↑ IMDb
32. ↑ Tom Leonard: How Hitchcock preyed on Tippi: She was the iconic star of The Birds - now her bombshell memoir reveals her account of the director's predatory sexual behavior towards her. Daily Mail, accessed July 19, 2019.
33. ↑ ^{a b} Tippi Hedren. "He wanted to punish me" Zeit-online, January 31, 2018, accessed on July 19, 2019.
34. ^ Alfred Hitchcock papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences papers , accessed August 25, 2020