"Hitchcock's Marnie was released in 1964, my own fledgling filmic efforts following (comparatively) on its heels: the developed aesthetic fruits ripe for a fall. How to talk about another's ploys and motives while really revealing one's own: this is a challenge both to vary the notoriously predictable form of independent/experimental film programming with its lax, vague and shrilly defensive, inarticulate accoutrements; and to bridge the not terribly mutually exclusive realms of traditional narrative cinema with that of the unwashed underground. There are similarly shared junctures and strategies. The risk of sabotaging suspicious, pigeonhole mentality is amply rewarded by a more rigorous exploration of the overlapping territories of all true cinema. This program of a screening of Marnie, a 35-minute talk on the film and capped off by an uncommented upon showing of my last completed work, A Woman's Touch (1983), began in Chicago's Film Center and traveled on north by northeast to New York's Collective for Living Cinema, Boston's BFVF and Frankfurt's Deutsche Film Museum, and is now wrung out here. Hopefully a tear in the easily virtuous curtain of separate cinematic worlds, with its downhill divisiveness, will be accomplished." Warren Sonbert Marnie "Hitchcock's camera discovers in Tippi Hedren an exemplar of the difficulty and pain of expressing love... She does not repel us and we are not unsympathetic to her, but something calls upon us to keep our distance. Indeed, the camera moves us too close and confronts us with our wish to avoid intimacy with her. Hitchcock calls upon us to acknowledge film's ordinary avoidance of intimacy, and our own in our ordinary lives.... The Birds and Marnie, his two last masterpieces, are infused with a deep sense of loss, an urgency, and an emotional directness that set them apart from all other Hitchcock films. They declare something about the human need for love that was always implicit in his work." William Rothman (PFA, 1/83)