After Mark (Sean Connery) falls for the criminally calculating Marnie (Tippi Hedren), he hires her … and then entraps her into marriage. Hitchcock’s most disturbing film, made more so by his own boundary-crossing on-set obsession for his lead actress, spills out of genre mastery and into the more complex, troubling and provocative arena of the art film. The flat sets, reminiscent of German Expressionism, heighten the intensit through their sense of unreality. (U.S., 1964, 130m)
“Hitchcock’s best film … psychologically resonant, visually transcendent.” –New Yorker
