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Drama, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock


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Laurence Olivier as 'Maxim' de Winter
Joan Fontaine as The Second Mrs. de Winter
George Sanders as Jack Favell
Judith Anderson as Mrs. Danvers
Nigel Bruce as Major Giles Lacy
Reginald Denny as Frank Crawley
C. Aubrey Smith as Colonel Julyan
Gladys Cooper as Beatrice Lacy
Florence Bates as Mrs. Edythe Van Hopper
Melville Cooper as Coroner
Leo G. Carroll as Dr. Baker
Lumsden Hare as Tabbs
Forrester Harvey as Chalcroft
Philip Winter as Robert
Rebecca Storyline: A shy ladies' companion, staying in Monte Carlo with her stuffy employer, meets the wealthy Maxim de Winter. She and Max fall in love, marry and return to Manderley, his large country estate in Cornwall. Max is still troubled by the death of his first wife, Rebecca, in a boating accident the year before. The second Mrs. de Winter clashes with the housekeeper, Mrs. Danvers, and discovers that Rebecca still has a strange hold on everyone at Manderley.
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Romance, Fear & Dark Secrets
In "Rebecca" a young woman's experiences of romance, fear and dark secrets correspond with her transition from innocence to maturity and prompt her saddened husband to reflect that "it's gone forever, that funny, young, lost look I loved won't ever come back. I killed that when I told you about Rebecca. It's gone. In a few hours, you've grown so much older". The despondency, regret and sense of loss that are embodied in these words are incredibly profound and typify the general atmosphere of gloom and melancholy that's such a strong and important feature of this extraordinary film.

During a short stay in Monte Carlo, a naïve young lady who works as a paid companion for a rich overbearing society woman meets and falls in love with an older aristocratic Englishman called Maxim de Winter (Laurence Olivier). Their relationship develops rapidly and soon the young lady becomes "the second Mrs de Winter" (Joan Fontaine) and returns with her new husband to his enormous estate in Cornwall and his huge mansion called "Manderley".

Maxim is a moody widower whose first wife, Rebecca, died in a boating accident. He's often brusque with his wife and she assumes that his sudden outbursts of anger are linked to his inability to come to terms with the loss of Rebecca. When she becomes the new mistress of Manderley, the second Mrs de Winter is soon overwhelmed by her new role and starts to feel rather isolated because of the aloofness of her staff and her husband's rather distant manner. She's also surprised and intimidated by the degree to which the spectre of Rebecca seems to be ever-present as everyone in the mansion (including Maxim) seems obsessed with Rebecca.

Mrs Danvers (Judith Anderson) is the cold, severe looking housekeeper who "adored" Rebecca and now keeps her room exactly as it was when her previous mistress was alive. Her hostility to the second Mrs de Winter is obvious from their first meeting and she does everything within her power to undermine her new mistress including trying to get her to commit suicide. The feelings of fear, inadequacy and powerlessness that the second Mrs de Winter experiences at this point are intense but soon everything changes when a sunken boat is discovered nearby with a body inside it. A whole series of revelations then follow and make it clear that so many things at Manderley were not as they had originally appeared to be.

Laurence Olivier's performance as a tormented man who's haunted by his past is very good but definitely outshone by Joan Fontaine and Judith Anderson. Fontaine's expressions and body language convey her character's timidity, uncertainty and sincerity with enormous power and Judith Anderson is convincingly evil as one of movie history's most memorable villains.

An interesting feature of "Rebecca" is the techniques that are used to make the second Mrs de Winter appear insignificant and inferior. Not only does she get cruelly dominated by her employer in Monte Carlo and consistently patronised by Maxim but she's also denied even the basic dignity of having a name. When she's first introduced to the staff at Manderley, she's made to feel uncomfortable and embarrassed because she's rain-soaked and dishevelled and visually, the distorted dimensions of the interiors of Manderley make her look physically smaller, lost and out of her depth in her impressive new surroundings.

Although Alfred Hitchcock famously dismissed "Rebecca" as not being a "Hitchcock film", it's an exceptionally good film that's very well directed with numerous touches that are characteristic of the great director's work.
Rebecca (1940)
This is an excellent film and it was directed by no other than the infamous Alfred Hitchcock.

This film starts out with some amazing music. The introduction starts out with suspenseful and then changes into classical romance music. The narration of a woman wishing to return to Mandeley. The film portrays a young woman who falls in love with a millionaire Maxim De Winters and marries him.

They leave for Maxim's home called Mandeley. During the 2nd wifes time at Mandeley, she is constantly reminded and compared to the first Mrs. De Winters-Rebecca. No one ever calls the 2nd wife by her first name, she is always referred to as dear, sweetheart or Mrs. Da Winters. Throughout her stay at Mandeley, the 2nd Mrs. De Winters grows extremely concerned for her relationship with Maxim. She also fears the housekeeper Ms. Danvers.

The lighting and sound for this movies was right on. I loved the scene at the cottage with Maxim and the 2nd Mrs De Winters. As always with a Hitchcock film there are twists in the plot. However I never thought it would end the way it did. I loved this film!
All is not as it seems in this Hitchcock classic.
"I've loved you, my darling. I shall always love you, but I've known all along that Rebecca would win in the end."

Rebecca begins very simply, with only the slightest hints of the twists and turns to come. After a whirlwind romance in the South of France, a young woman (Joan Fontaine in a nameless role) is swept off to Manderly, the lavish ancestral home of her new husband, Maxim (Laurence Olivier). It doesn't take her long after arriving there to find out that the shadow of Rebecca, Maxim's deceased first wife, continues to hang over Manderly. The stress of constantly being compared to the memory of the seemingly perfect Rebecca begins to outright suffocate the young wife, and her husband's frequent outbursts of temper and preoccupation combined with the unfavorable opinions of some of the household staff becomes more and more overwhelming. All is not as it seems in Manderly, however, and hidden secrets are eventually brought to light, with life-changing consequences. 

I thought Rebecca was a great movie. It initially seemed to be a light romance, before seamlessly bringing in elements of mystery and even courtroom drama. It's actually a relatively dark story, full of sordid dealings and shady characters.  Quite a surprise or two is sprung on the audience before Rebecca is done, and while this doesn't seem much like a Hitchcock movie in the beginning, by the end, there is little doubt that his fingerprints are all over this. I highly recommend it.
Superb Hitchcock tale
Before getting to the meat of the movie, I do have to give praise to two of the supporting actors here. Of course, the standout is Judith Anderson(later to be Dame Judith Anderson). Without her, this film really wouldn't have worked anywhere near as well. She brought life to one of the most truly spooky characters you'll see in almost any movie. But also deserving of great praise is Florence Bates -- here the stuffy dowager who keeps making a fool of herself. It was Bates' first movie role, and although she is only in the opening scenes of the film, she is quite memorable.

If you buy the DVD with the "making of" extra, do watch it. It will give you an excellent overview of the struggles that went on between produced David O. Selznick and director Alfred Hitchcock. While this is not my favorite Hitchcock film, it's right up there with such films as "Suspicion", "Shadow Of A Doubt", and "Spellbound". I'll give it ONLY an A, not as A+ that I would give such films as "North By Northwest" and "Vertigo". However, I think it is so much a better film than "Wuthering Heights", which I happened to watch just a few days before viewing this film, again.

Laurence Olivier is excellent here. He plays the balance very well between the adoring husband of the new Mrs. de Winter who can't quite break free of the deceased first Mrs. de Winter (or can he?).

However, there is no question that this film belongs to Joan Fontaine. I was not much of a fan of Fontaine, but this film increased my esteem for her a great deal. It may be her best film...either that or "Suspicion". But what is delicious about her performance here is how this beautiful woman manages to make herself seem so very plain for much of this movie. Plain, and yet refreshingly attractive.

The other scene-stealer here is George Sanders...but then again, he always was a roguish scene-stealer! You'll also enjoy shorter performances by Nigel Bruce, Reginald Denny, C. Aubrey Smith, Gladys Cooper, and Leo G. Carroll.

I think one of the best scenes in this, or any other film is the sequence when the evil servant helps Fontaine prepare for a costume ball in a costume she knows will remind Olivier of his first wife.

The film is a bit over 2 hours, but worth every minute of your time. I rarely give an "8" for a film, but I will for this excellent Hitchcock effort. Savor it and put it on your DVD shelf!
Do you think the dead come back and watch the living?
Rebecca is directed by Alfred Hitchcock and adapted to screen play from the Daphne du Maurier novel of the same name. It stars Laurence Olvier, Joan Fontaine and Judith Anderson. Cinematography is by George Barnes and music scored by Franz Waxman.

After meeting and marrying 'Maxim' de Winter (Olivier), the Second Mrs. de Winter (Fontaine), finds life at his English estate, Manderley, far from comfortable because the servants and the house serve to remind her of the first Mrs. de Winter, whose death remains a source of mystery. What did happen to the first lady of the house? Can this newly married couple survive the oppressive cloud that looms large over the mansion?

A Gothic emotional near masterpiece, Alfred Hitchcock's first American film may seem a bit too serviceable at times, something he was also aware of himself, but the production values are high and the story is played out supremely well. Within the story we can find Hitchcock's now famous trait of mistrusting Women, but in the main it stays the tragic tale of one young woman living in the ominous shadow of the previous Mrs. De Winter. Mood is often set as foreboding, with the director understanding the psychological pangs of the source material once the action switches to the de Winter home of Manderley. It arguably is a touch too long, and the restraint of Hitchcock, down to producer David O. Selznick overseeing things, stops it being a bit more unnerving than it should be.

For Manderley the mansion here is one of the finest put on the screen, this is because Hitchcock and brilliant cinematographer George Barnes manage to make it bold & beautiful one minute, and then the next scene it comes off as a monolithic nightmare. It's wonderful case of the surroundings playing the extra character for maximum effect. Laurence Olivier is impressive, even if we would learn later on that this is the sort of performance he could do in his sleep. The supporting cast do great work as well, especially as regards the cold and terrifying turn from Judith Anderson as Mrs. Danvers. However, to me this will always be Joan Fontaine's show, she nails it perfectly, the new Mrs. De Winter wants to do right but can't seem to so for doing wrong, she infuriates at times, yet the next minute you just want to hold her, for she's so vulnerable, but beautifully so, it's a brilliant performance in a brilliant film.

The ending is a switheroo from the novel, and it almost derails the success the film has achieved up to that point. And looking at it now it's hard not to curse the Production Code for enforcing a big change to what was revealed in du Maurier's wonderful novel. But the film has survived the "appeasing" ending to stand the test of time for all the ages. It won the Academy Award for Best Picture, and Barnes also won for Best Black & White Cinematography, it was nominated for a further nine awards, including Best Director, Best Actor, Best Actress and Best Supporting Actress. No nomination for Waxman, sadly, but his score is worthy of a mention for the evocative strains that sit nicely with the tone of the story. Rebecca, a hauntingly beautiful picture that's acted and produced with consummate skill. 9.5/10
What Atmospheric Gothic-horror Should Be.
Alfred Hitchcock was and is still the undisputed Master of Suspense, and there is a lot of that here in his foray into Gothic horror, as the mystery surrounding the unseen yet omnipresent Rebecca will engage the viewer from its dreamy start to its bleak conclusion. This is exactly what atmospheric is supposed to be about, and in black and white, it shines. This is also what Gothic horror is in essence, and many have imitated yet come up short, most notably M. Night Shyamalan who, in trying to go for a shock twist and purported "atmosphere" only creates a bad aftertaste and a hangover the size of Mount Everest. This is, essentially, Hitchcock's first true masterpiece.

Not one performance rings false, not to the novel or to their respective interpretations. Lawrence Olivier, quite possibly one of the greatest actors that ever lived, portrays a broken man who still lives haunted by the past as he himself were still living in that unending hell. Judith Anderson embodies one of the most coldly sadistic figures in cinema history, her smooth and elegant truculence only exceeded by Anthony Hopkins' rendition of Dr. Hannibal Lecter. One can't seem to understand the way she wallows in her dead mistresses' clearly perverse nature, but that exactly she does, right down to her own end. George Sanders does what he does best: sneer, smirk, and spit line after line of practiced venom, and would be honored 10 years later in ALL ABOUT EVE. Gladys Cooper, still striking in her 50s, plays into her casual cattiness which means no harm, although her rendition of Beatrice Lacy is a little subdued from the novel's version.

And then there is Joan Fontaine. Not one of the best actresses on film, yet here, playing a role that evolves beautifully from a frightened, weak girl who is put into a situation she does not understand and who turns right at the point of losing it into a much more mature, strong woman capable of holding her own, she carries the weight of the entire drama and comes forth with flying colors. While I would have preferred Anne Baxter who would have been the exact right age for this role, Fontaine exudes so much restraint and nervousness about her character (partially to blame Olivier's treatment of her and Hitchcock's telling her the entire cast hated her), it's almost a relief when she finally decides to confront Olivier about what it the secret of Manderley. Not many roles require such a change and not many actresses would sink her teeth into a part that requires being put-upon until she can't stand no more, and this is one beautiful performance.

A movie that should have won more Oscars that year, REBECCA has since grown in stature and proved that a film need not trophies to be Timeless and Great.
Superb slow-burning psychological drama - classic Hitchcock
A young woman is in Monte Carlo, working as a ladies' companion, when she meets the recently-widowered, and very wealthy, Maxim De Winter. They fall in love and get married soon thereafter. The De Winters take up residence in Maxim's family estate, Manderley. Mrs De Winter finds it hard to fit in. The presence of Maxim's deceased wife, Rebecca, seems to permeate through the house and Mrs De Winter can't shake the feeling that she is constantly being compared to her and that she is an interloper. Mrs. Danvers, Rebecca's personal maid, also takes care to make things as uncomfortable as possible for the new Mrs De Winter. Mrs De Winter has the constant fear that memories of Rebecca will drive her and Maxim apart. Over time, she grows to know more and more about Rebecca...

Brilliant psychological drama, based on a Daphne Du Maurier novel and directed by Alfred Hitchcock. Carries all of the Hitchcock trademarks - the slow-burning intensity, the mystery, the psychological games, the twists and the powerful conclusion.

While the plot does develop slowly, especially in the early-to- middle section, this movie is by no means boring. More than engaging, it is a totally immersive experience. You see everything through Mrs De Winter's eyes, feeling her apprehension and fears and love for her husband.

At a point, the plot takes off and then we have intrigue upon intrigue, with some great revelations and twists along the way. Powerful, profound ending.

Excellent performances from Sir Laurence Olivier (though that's a given) and Joan Fontaine in the lead roles. Both received Oscar nominations, as did Judith Anderson for playing Mrs. Danvers. Hitchcock received his first (of five) Best Director Oscar nominations for this movie.

The movie itself won the 1941 Best Picture Oscar, beating out, amongst others, another masterpiece - The Grapes of Wrath.
Outstanding in every way
This is my all-time favorite movie and I'm 72 years old (making Rebecca three years older than I!) I won't waste space repeating all of the praise that's already been expressed by so many reviewers about the wonderful acting, directing, musical score, etc. I would like to comment, however, on the performance of one actress who never seems to get much credit. It's Florence Bates, who plays the rather short but important part of Mrs. Van Hopper at the beginning of the film. I don't think her performance as the rich, rude, self-centered American traveler abroad could possibly have been more perfect. She interrupts and rudely scolds her paid companion (Joan Fontaine), she pushes herself on Max DeWinter in efforts to scrape an acquaintance with him because of his wealth, she's totally repulsive and she speaks English in the uppity- rich Boston/Philadephia manner. She is rude and insulting at all times.

Now here are some amazing facts about Florence Bates. Born in 1888, she grew up in Texas, was from a Jewish family, and was a talented piano student but a hand injury forced her to give up piano. She was a brilliant student and earned a university mathematics degree; taught math in high school briefly, then studied law and became the first woman licensed to practice law in Texas. She was fluent in Spanish and, after radio was introduced around 1920 she had her own Spanish-language radio program in Texas with the goal of improving relations between Americans and Mexicans. She later ran her father's antique shop, and when her husband lost his fortune in the 1929 crash the couple moved to California and operated a bakery. In California she acted in a few plays and finally in 1939 she landed her very first film role--in Rebecca! She ran into Alfred Hitchcock by accident and he knew she would be perfect for the part and offered it to her--her very first film role.

Clearly a person of immense energy and multiple talents, she was 51 years old when she made this "film debut" (Rebecca was actually filmed during 1939 but not released till 1940.)

As to her acting in Rebecca, the way she uses her voice, facial expressions and general posture and demeanor to create and project the personality of this relatively minor character is, in my opinion, nothing short of genius. If you have a DVD copy of the film, have another look at her brief performance (she is only present in the first half hour of the film.) Watch especially the scene at Max DeWinter's hotel room door as he announces to her that he has become engaged to her "companion." And watch the movements of the camera as it anticipates her glance toward the companion after DeWinter's hand gesture. I agree with reviewers who suggest that Hitchcock should have won "Best Director" because just this scene alone should have won the award for him, in my opinion.

As to Hitchcock's use of the camera, I think it's wonderful the way he has the camera OFF the face of the person speaking and, instead, ON the face of the person being spoken to. Example: the early scene in which Mrs. Van Hopper announces the engagement of her daughter and her sudden decision to sail for New York. We only see the back of her head as she speaks--allowing us to focus on the full facial reaction of Joan Fontaine to this awful news.

These are just a couple of the touches of genius in acting and directing that I appreciate in this wonderful movie. Virtuoso performances by Judith Anderson and George Sanders in addition to Joan Fontaine and Laurence Olivier and, in fact, great work from everybody involved.
Marvelous, if not quite faithful, adaptation of du Maurier's thriller
This black and white classic is generally a wonderful adaptation of Daphne du Maurier's novel, and despite a number of liberties taken, I compliment Hitchcock on this brilliant thriller. The story revolves around a shy young woman who, having no family herself, is forced to serve as a paid companion to an obnoxious socialite named Mrs. Van Hopper, vacationing in Monte Carlo. While there, she meets a handsome but abrupt English widower named Maxim de Winter, who is staying at the same hotel and escorts her about. The innocent young woman is swept away by this mature and mysterious man, though she dares not reveal her emotions, given her lowly social position. Though there is strangely little romance involved, Maxim unexpectedly proposes marriage. The two wed and honeymoon abroad, then Maxim brings his bride home to his grand English country estate, Manderley.

At Manderley the insecure, nameless second Mrs. de Winter is emotionally haunted by Maxim's first wife, the beautiful and accomplished Rebecca. Though Rebecca drowned many months earlier in a boating accident, her memory seems all too fresh in the minds of Maxim's sister Beatrice, his servants, and indeed Maxim himself. The haunting R's are everywhere...on the table linens, the lacy handkerchief, the address book, the dressing gown case. We never see so much as a photograph of the mysterious Rebecca, but her lingering presence is felt through both her possessions and the recollections of others. The domineering and foreboding housekeeper, Mrs. Danvers, was personally devoted to Rebecca and exhibits unconcealed disdain for the new intruding and inadequate mistress of Manderley. When Danny shows Maxim's new bride the bizarre West Wing shrine she keeps to her former mistress, it seems as though Rebecca herself might walk in at any moment and use the nightgown and hairbrushes meticulously laid out for her.

For me, the quality of any adaptation of this novel depends upon the persona of the second Mrs. de Winter. Joan Fontaine is sympathetic and endearing in the role, suitably shy and bewildered, but this actress is far too pretty! Maxim's new bride should be unglamorous, even plain and dowdy. Primarily for this reason, I prefer the 1979 serial version which has a perfectly cast Mrs. de Winter. However, Laurence Olivier is superb as the mature, sophisticated, often brooding, and occasionally rather nasty Maxim de Winter. The most masterful performance is definitely given by Judith Anderson as the dark, sinister, and menacing housekeeper, Mrs. Danvers, whose chilling stare dominates much of the tale.

Maxim's business agent and friend, Frank Crawley, is faithfully portrayed as a quiet, kind, and competent individual who is unfailingly loyal to Maxim. Beatrice is suitably forthright, Giles foolish and chubby, the servants appropriately formal, and Jack Favell utterly despicable. Mrs. Van Hopper is wonderfully captured as the rude, chattering, condescending, and altogether obnoxious socialite of the novel, fawning over the aristocracy. Her character is necessary in order to cement sympathy for her paid companion and her social situation. I found the Monte Carlo scenes well presented, though could hardly picture du Maurier's gauche heroine so comfortably at ease dancing with Maxim.

The sets especially are brilliantly done, depicting Maxim's grand English country manor. I felt that I was literally standing in Manderley's grand hall with its incredible staircase. Library, morning room, dining room, upstairs galleries, Rebecca's bedroom, and boathouse are all perfectly captured. The Cornish coastal scenes with the haunting fog enshrouded sea are portrayed in typical eerie Hitchcock fashion. Even Jasper the spaniel is perfect!


According to the Hays Code, no movie could depict a murderer in a sympathetic light so the screenwriters were forced to cast Rebecca's death as an accident. Fortunately, I was aware of this in advance so managed the altered portrayal of events quite well. However, it certainly changed the flavour of this sinister tale.

As appealing as the dewy eyed Joan Fontaine is, Hitchcock falls short in capturing Mrs. de Winter. He changes completely her role in the Manderley costume ball preparations by indicating that SHE herself is taking charge. In the book, Mrs. de Winter feels utterly inadequate and useless in these preparations as the domineering Mrs. Danvers organizes menus, flowers, music, and invitations. The worst outrage is his failure to depict the complete transformation of this awkward, insecure young woman, initially so ill at ease as mistress of Manderley and timid with the servants. Once she is assured of Maxim's love and no longer haunted by Rebecca, the novel's Mrs. de Winter immediately becomes a confident lady of the manor, scolding a maid and even taking on Mrs. Danvers. Yes, there IS one movie scene where she DOES defy the housekeeper, declaring, 'I am Mrs. de Winter now'. However, it's ALL WRONG, defeating its purpose by occurring BEFORE Maxim reveals the truth. Hitchcock is certainly a master of the thriller but totally missed the point here.

The ball scenes are shortened due to time constraints, some of the later settings altered, and liberties taken with the conclusion. The novel's Mrs. de Winter is driving home from London with Maxim, rather than remaining behind at Manderley during the fire. The lovey dovey embrace with the implied 'happily ever after' ending is unfaithful to the book. Neither at the beginning nor elsewhere is the viewer ever informed that the de Winters are currently living abroad in obscure hotels on the Continent in self imposed exile. However, for those less concerned with accuracy to the novel, this movie is a haunting and engrossing romantic thriller with an extremely sympathetic heroine.
Hitchcock goes to Hollywood
Alfred Hitchcock's Hollywood debut, while not likely to appeal to the same fans who champion 'Vertigo' or 'Psycho', is nevertheless a 14-karat treasure from the Golden Age of movie-making. Purists will argue that the film is more Selznick than Hitchcock: a blockbuster studio production packed with talent, prestige, and all the glamour money can buy, but certain touches (mostly those concerning malevolent maidservant Judith Anderson and smarmy playboy George Sanders) could not have been duplicated by any other director. The film today, restored to all its magnificent, pristine clarity, is suitably lush and moody, and after all these years the atmosphere of unease surrounding the stately house of Manderley is still palpable. But the Daphne Du Maurier scenario is still very much an anachronism: the innocent, unsophisticated girl who marries into wealth and tries, desperately, to conform to society's manners is hardly a valid role model these days. And once the mystery of the late Rebecca de Winter is finally solved, the Gothic plot settles into a conventional blackmail scheme more typical of the Master of Suspense.
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