Marnie (1964)

One of Hitchcock's later films, this has the beginnings of the psychologically disturbed young woman genre, surrounding one woman tormented by something she can't really remember. This was also used as a plot device in the very famous made-for-TV movie "Sibyl" and later horror films, but is used here to fuel the story of an unloved and criminally insane young woman. Marnie herself is a very interesting character, because instead of being marred by her past and becoming a timid young thing, she becomes a kleptomaniac, a rogue thief, and a sly underdog compared to Sean Connery, who arrives to calm her memories and make her whole once more. Though she is obviously a repressed character, both cunningly criminal and flawed, she is not shown as vulnerable. Instead of being truly empathetic to Marnie as a character, the film allows the character of Mark to swoop in and become her savior in a matter of minutes while also proving to be her jailer, and also her salvation. While it is true that Marnie is, again, repressed, Mark acts as a repressive force himself. He gives her a home and money, which he believes that she steals for her own survival, and acts as if he is doing her a service, while blackmailing her into marriage. He goes go on to almost rape her, hits her, and threatens her with police action and more violence. Mark also helps her confront her repressed demons, eventually becoming her love interest. By eliminating a psychotherapist from the book and replacing them with Mark, there is a lack of balance to their "relationship." Because of the lessening of characters from the book to the film, it becomes much more pointed a narrative and loses any dynamism, becoming a cretinous love story. The only relationship explored with any affinity, and shows an empathy towards Marnie's plight, is between her and her mother. Their relationship is portrayed as an embittered and loathsome one, full of lies and without the caring a mother should exhibit. That proves to be the best aspect of the film and somewhat of its saving grace, if you can get past the Neanderthal portrayal of Mark.