Sean Connery as Mark Rutland, publisher
Philadelphia to Baltimore, Spring 1964
Release Date: July 22, 1964
Director: Alfred Hitchcock
Costume Designer: Edith Head
Men’s Costumes: James Linn
WARNING! Spoilers ahead!
Months before Goldfinger was released and cemented Bond-mania among the cinematic zeitgeist of the 1960s, Sean Connery got the opportunity to show audiences that he was capable of more than just suave secret-agenting with the back-to-back releases of thrillers Woman of Straw and Marnie. The latter has been celebrated as the better-regarded of the two, with some even calling it Alfred Hitchcock’s underappreciated masterpiece, though Hitch himself was more dismissive when discussing the work with François Truffaut:
I wasn’t convinced that Sean Connery was a Philadelphia gentleman. You know, if you want to reduce Marnie to its lowest common denominator, it is the story of the prince and the beggar girl. In a story of this kind you need a real gentleman, a more elegant man than what we had.
Say what you will about Connery’s performance, but I’ve considered Hitchcock’s criticism to be somewhat undeserved, particularly considering that the adaptation of Winston Graham’s 1961 novel of the same name condensed the characters of Marnie’s husband, Mark Rutland, and the psychoanalyst that Mark forces Marnie to see. Thus, Connery’s characterization requires him to convincingly depict Mark as first a charismatic cad, then a manipulative rapist, and—ultimately—a quasi-therapist whose motives are depicted more through the lens of spousal support than domination. Given the challenge of the role, I believe Connery ably rose to the occasion, bringing out more savage sides of the character than we may have believed in the hands of Hitch’s erstwhile stalwarts like Cary Grant or Jimmy Stewart.