Neo Noir: Marnie

 

SNAPSHOT POST

Hitchcock's suspenseful sex thriller, as the poster for the film calls it, is borderline insane as its premise is ridiculous, on paper. On screen however, Tippi's Marnie is both a cold hearted thief and vulnerable woman suppressing childhood trauma that rears its head at the most difficult of times. On the surface the cruelty Marnie suffers is a punishment for crimes but really this is a exploration into her mind. Not as deep a dive as it could go but still a worthy Hitchcock classic that is mostly pushed aside in flavour of his other films. The double side to this film is connected to Tippi Hedren herself who only did the film because she contracted to due to the abuse she received from Hitchcock. This could be the real breakdown we witness from that stress. But that might reading too far into it.

 

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Watching Psycho

In all honesty, I don’t remember the first time I watched ‘Psycho’ but I know it was after I saw the 1998 remake. I was at a Halloween party, I think I was 15 or 16, I don’t remember the costume I wore but I know it was not a ‘sexy looking’ outfit. I went to an all-girls school and all the attendees of the party were girls so I didn’t have anyone to impress. As this was pre-Facebook days, I don’t have any photographs from that night. I say it was a party but really it was just a night of playing a few games and watching a ‘scary’ film while eating sweets. My memory is hazy so I don’t know what the other film choice was but I definitely had a hand in picking ‘Psycho’. This was because I thought it was going to be Hitchcock’s version. I was incredibly disappointed to find it was Gus Van Sant’s remake. On top of all that, it wasn’t particularly scary so most of the girls were annoyed and made fun of me for wanting to see it. It’s not as if I was the one who rented it from Blockbuster.

Growing up in a time when I’d only seen Vince Vaughn is mediocre comedies, seeing him as Norman Bates, one of the most famous characters in Hollywood film, seemed out of place and terribly miscast. I wrote in a post back in 2014 (please excuse my writing back then, I was still finding my style) that he was cast against type which is exactly that and upon reflection, is actually out of the box casting choice. He has that horrible disturbing laugh that fits in with the character’s mindset and you could easily believe, this guy is unhinged and definitely could be a killer.

Being ‘into film’ in secondary school was a like navigating a maze. I had to be into the films that everyone else wanted to watch, like ‘8 Mile’, ‘The Notebook’, ‘Honey’, ‘Notting Hill’, while also maintaining my edge of wanting to watch all genres of films from all eras. I read Empire while they all read Grazia and Heat. I am guilty of buying the latter on occasion but mostly, I read film and music magazines. I was and am an avid old movie watcher and probably only had one or two friends I could talk to about films so seeing the chance to watch and try and get a group of my peers to watch ‘Psycho’ was a big moment. I gave the remake a chance but I actually forgot most of it after the film ended. I asked my parents if we could get a copy of Hitchcock’s original. I think I had to wait 2 more years before I actually got to watch the film.

I’d seen other Hitchcock films and asked for a boxset for Christmas one year so I could devour as many as possible. ‘Psycho’ has always been one of those revered films that all the film critics, theorists and filmmakers say to watch only then to twist round a decade later and say its really awful. Usually. My personal experience of the film was as if I was learning how to make films and appreciate the story structure, as I had decided I wanted to go to film school. I was finally able to watch the film I knew so much about, seen clips and scenes from and able to piece together what made this film a masterpiece. Sometimes it takes a few viewings of a film to see how great or bad it is, but ‘Psycho’ is a film, for me, that I could see just how brilliant it was from the first viewing, even mentally removing the remake from my mind to make room for the occasion.

Cinema Rediscovered 2019 Round Up

Now in its fourth year, Cinema Rediscovered in Bristol has become a staple in the film calendar, especially has it not only focuses on older films and bringing them into focus but it also pushes film criticism to the forefront. With talks and panels and the workshop for up and coming critics, the discussion about the state of criticism and what the future holds isn’t something you’d find at any other film festival. 

Screening films more well known such as ‘Kind Hearts and Coronets’ celebrating its 70th anniversary and Hitchcock’s ‘Notorious’ ahead of its re-release back into cinemas, alongside these are new documentary, ‘Filmfarsi’ delving into the near forgotten world of Iranian cinema and forgotten gems such as ‘Une Femme Douce’. They also weaved a theme within the festival exploring gluttony, decadence and resistance, screening British classic, ‘The Cook, The Thief, His Wife and Her Lover’ and French Italian classic ‘La Grande Bouffe’. 

With the Cotswold gin flowing and the film discussions abundant, the Watershed, home for the festival and as Bristol’s shining beacon for film, the festival was a great place to catch up with fellow film fans and critics alike as well as discover something new/old that you hadn’t seen before. Looking forward to next year and what the Cinema Rediscovered team create. 

Having seen ‘Notorious’ for the first time, I wrote a separate post about it which can be read HERE.

I will also being writing about ‘Eyes of Laura Mars’ which was also a first time watch for me, presented by a favourite collective of mine, The Final Girls. Post to come soon!

#CinemaRedis19  

Blind Spot Series: Notorious

“There’s nothing like a love song.... to give you a good laugh”

A film’s reputation proceeds it, especially if it’s title is ‘Notorious’. Hitchcock’s thriller, spy romance starring two of the biggest stars at the time of its release, Cary Grant and Ingrid Bergman. Screened at Cinema Rediscovered before the film is re-released back on the big screens and as part of the BFI Cary Grant season, so if you've not seen it, now you get the chance to see the film how it was meant to be seen.

As the daughter of a convicted German war criminal, Alicia, is recruited by US government agent, Devlin, to infiltrate a group of her father’s comrades, particularly Alexander Sebastian, who used to have more than a crush on her. But as with most best laid plans, Alicia and Devlin fall in love, putting a strain on her mission and leaving him jealous. This is Hitchcock though so don’t expect the usual beats to this sort of film. Hitchcock knows how to build suspense as well where to put the camera and how to break the rules.

The film is famous for breaking the Hayes Code as it includes kissing, open mouthed for more than 3 seconds. I always remember this film as the ones where Ingrid Bergman and Cary Grant’s faces are stuck together for long periods of time, but luckily this film is more than what makes it, notorious.

Alicia is an unconventional leading lady, as she does what she wants, even drunk driving in the early hours. Her reputation proceeds her and doesn’t back down from a challenge. It insinuated on more than one occasion in the film that she’s been around, slept with a few men and for this reason she is right for her mission. But her keen eye and composure, even when drunk is not seen as an asset, except by Devlin. It’s refreshing to see a character like her drink and not care for the judgement put upon her and sacrifices none of her charm and elegance. Next to Grant’s Devlin, the epitomy of suave, they create a very beautiful couple which is remarked on in the film. But they also make an excellent spy couple but this might be us being blinded by their pairing. 

As well as the romance and thrills, there is the very welcome comedic element sliced in. Any time Sebastian’s mother hears that Alicia is in pain, her happy smirk is hard not to laugh at as the hatred is so obvious. Quips and witty comments are thrown out to also create a humorous atmosphere balancing the serious tone which is the main part of the film. With the film released back into cinemas, hopefully this will give a wider audience to experience this Hitchcock classic. 

#CinemaRedis19