The past in Marnie is often a traumatic childhood incident, and for that matter, an entire traumatic childhood, all of which has been suppressed and sublimated by Marnie so that she steals for attention and doesn't know why she does. She also values her independence and fights to retain it. She is sexually frigid and beset by inner demons she does not understand. The heroine with the Gothic drama might be inside thrall of the strong male as marnie is, but the effect is incredibly different. Her "captor" love her and forces her to marry him, but he works tirelessly to solve her psychological trouble and to bring her to a regular life, whilst the Gothic villain would not be so kind. The Gothic villain in Rebecca turns out to be a manly woman instead of the usual overbearing male, but the effect on the heroine is a lot the same.
The Gothic drama has a lot to try and do using a sense of time and place, and Rebecca takes location within the requisite gloomy mansion exactly where the past hovers over the present, ghosts appear being nearby, and every element of normal life is twisted by the darkness with the location and the way time seems to stand still. Rebecca centers on certain relationships, but people relationships are subordinated on the place, the power in the past, as well as the slow revelation of where the evil in the house resides.
The dream and also the story throughout are enhanced by the brooding black and white photography, which allows for stark contrasts and which thus reduces shadings so beneficial and evil are more sharply contrasted. Shadows are dark and foreboding at Manderley, even though they're much more open in the outside world in which Max and also the narrator meet.
The camera moves via this setting like a visual representation on the psychological concerns of the main character. We see via her eyes in this sense even when she is inside the scene, and just as she is nervous and never very fits in, so may be the camera an intruder searching for the exact same answers she seeks. Max de Winter appears to fit into this property due to the fact he is really a brooding presence searching for a way out. The housekeeper fits mainly because she appears made with the exact same stuff as the house. other characters, notably Rebecca's one-time lover, take a a lot more sardonic view and do not try to fit into a globe they only would like to visit.
Marnie opens inside a way that emphasizes character more than setting. The camera opens on the close-up of a yellow purse that will identify a woman for us from the following sequence. She walks away within the camera we see her figure and her dark hair. The opening is languid, and we watch her walk some distance down a railway platform--we know she is heading somewhere. This quiet opening is broken by the intrusion of an angry man screaming "Robbed!" as he describes this woman on the police. Colors are significant here--the yellow purse is used to identify a woman we have not yet observed well, and as her hair color changes, we know by her purse who she is. This really is a film about identity, as well as the opening sequence shows this woman changing her identity. Except to your angry interlude in the robbed man and also the police, the opening is with no dialogue as we follow the actions from the woman from one location to another. The mystery is heightened by this device even as a lot info is conveyed.
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