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Rebecca
Year:
1940
Country:
USA
Genre:
Drama, Thriller, Mystery, Romance
IMDB rating:
8.2
Director:
Alfred Hitchcock
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
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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Reviews
Mystery in the most out...
"Rebecca" is a mystery movie in which we watch a shy woman who was working as a companion girl of another woman. In a trip she and one rich man fall in love and they decide to marry. When they are returning to the main house of the man she understands that he is still troubled by the death of his first wife, Rebecca, who was killed in a boating accident the year before. And in that the mystery starts.

I really liked this movie because of the plot which was really nice written but also for the direction of it which made by the master Alfred Hitchcock and his contribution in the success of this movie was really obvious. We can understand in many scenes the tips and the guidance that Alfred Hitchcock gave to the actors on how to play, to show etc. About the interpretation I have to say that I loved the interpretation of Joan Fontaine who played as Mrs. de Winter and also the interpretation of Laurence Olivier who played as 'Maxim' de Winter. Another interpretation that has to be mentioned is Judith Anderson's who played as Mrs. Danvers and I believe that she was great on her part. Another important fact that I have to mention is that this movie did not tire me even a little and kept me in tense in the whole duration of it, something that I believe is extremely important for a mystery movie.

Lastly I believe that "Rebecca" is a nice mystery movie which combines really well this mystery with the romance between the couple and the result that comes out from it is the best. I also think that this movie is one of the best of Alfred Hitchcock and I strongly recommend it to everyone because it's a must see movie.
2015-02-08
Sinister and Creepy
The ending is more than a little ex machina. Very unpleasant types: Hecate van Hopper, Maximum de Winter, Deathly Danvers, Flakey Favell Foulenough, combine to bully a sweet, pretty, innocent, young girl with no name. But she slowly grows strong, takes Maxim in hand, and in the end sees off the others. This all takes place at Manderley, not Mandalay. Joan Fontaine is gorgeous.

Florence Bates, as van Hopper, has a vicious Hitchcockian way with a cigarette, a stubbing technique later adopted by Jessie Royce Landis in To Catch a Thief. Was this another way Hitchcock decided later to repeat himself ? Just a thought. I don't think he showed up personally in Rebecca.

An unusual Hitchcock perhaps, because it is heavy on atmosphere, somewhat reminiscent of Edgar Allan P, and although there is a modicum of suspense, it is slightly flat in that department. It's almost as if Alfred was feeling his way with his first film under American skies. Rebecca's death throes, her smile of satisfaction as she expires, reminds me of Claggart, although the film of Billy Budd was not produced until 22 years later. A gripping watch, but Olivier is extremely unappealing in his role. Other reviewers have explained that Selznick interfered with the direction of this film.
2017-06-22
Disappointing
I'm not much of a book reader but I LOVED the book and was very excited in school to watch this movie... then right from the beginning I was severely disappointed. The characters didn't reflect the writers picture of what they should have looked like and the acting was way over dramatized. It seems in many cases Hollywood ruins movies for the readers of the original books points of view. Was the acting good in this movie? Yes Was the directing good? Sort of... Was the casting correct and true to the story? NO I never understood why this movie was so popular... probably because most of it's viewers hadn't ever read the book before and since Hollywood loves to change things to make them "better" people didn't notice. If you want to see an amazingly accurate version of this wonderful book, watch the version from 1997 by Masterpiece Theatre staring Charles Dance as Maxim and Emilia Fox as Mrs. de Winter. The casting was PERFECT as was the acting. All the characters fit especially Mrs. de Winter who is supposed to be a little quiet mousy thing of a girl, very naive, who isn't all about glamor like the Mrs. de Winter depicted in the original film, who looked more like Rebecca than the character she was cast to play.
2014-05-05
Rebecca
Being an avid fan of Alfred Hitchcock's films, I should rank Rebecca high on my list. It was the only of Hitch's films to win an Academy Award, winning Best Picture in 1940. However, much like North by Northwest, another fan favorite, I don't care for Rebecca. Almost everything that makes a film Hitchcock-esque seems to be missing in Rebecca. The film is full of imposing camera angles and the wonderful lighting I adore in Hitchcock pictures, but his standard care with which his narrative is formed seemed completely different. Starring Laurence Olivier and Joan Fontaine, Rebecca tells the story of a recently married couple and the self-consciousness experienced by the new bride who cannot seem to escape the shadow of her new husband's deceased first wife.

'Maxim' de Winter (Laurence Olivier) a wealthy man living in a sprawling estate meets a quiet, timid young woman who he instantly falls in love with and decides to marry. The new Mrs. De Winter (Joan Fontaine) soon learns that there is a spirit hanging over her new home, that spirit belongs to the first wife of her new husband, Rebecca. Mrs. de Winter soon becomes fully aware just how much Rebecca's memory has engulfed her husband's thoughts. There are even rooms in her home that haven't been changed since Rebecca was there. Mrs. de Winter clashes with the staff in the home, as it seems everyone is longing for the first Mrs. de Winter.

Rebecca seems less like a Hitchcock film than the sole comedy he made Mr. & Mrs. Smith. The audience wasn't thrown into the suspense like in Strangers on a Train, the tone wasn't set like it was in Psycho, it was a diligent narrative that seemed more like a John Ford film than a Hitchcock picture. The cinematography was brilliant, and more than deserving of top prize that year for George Barnes. The film itself was fine, just not at all what I expected from Hitchcock's only Oscar winner.
2017-01-10
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!
2014-10-29
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.
2010-12-29
A great HORRIBLE movie or a HORRIBLE great movie!
The very nature of this kind of suspense drama is to lead the audience on, oftentimes with misdirection, or heightened atmospherics (an unblinking Mrs. Danvers). Of all Hitchcock movies I have seen, this one seemed to actively present Director Hitchcock as 'Deus ex machina'. The whole film seemed so contrived and fake; a story should develop 'suis generis' while this one seemed to develop by directorial disposition. In the end, to my way of thinking, it just seemed klunky. And unbelievable. For Hitchcock, the audience has to be conned into believing the events are plausible, the story line is plausible; and for many Hitchcock films, that can be a stretch. For me the worst moment came when Rebecca (Joan Fontaine) dresses as the first Rebecca for a masquerade ball at the suggestion of Mrs. Danvers. Rebecca ended up then, at that point, looking like an idiot; she always seemed not especially bright as a character--and that single decision made her seem downright stupid. Further, an inquest--long after the death of a person--was one more instance of directorial interpolation. And Rebecca, upon hearing that she is, in reality, manipulated into being the 2nd Mrs. Rebecca de Winters, would have acted appropriately in demanding answers from her new spouse; instead, she turns to Mrs. Danvers, who is intended to look and be something of psycho-zombie for confirmation of details. Again, turning to the demonic Mrs. Danvers makes Rebecca (Joan Fontaine) look borderline idiotic, especially given that Rebecca is portrayed in the film as being terrified of this psycho-zombie.

To me, in the end, the movie just didn't work. I gave it 10 stars--because either way it is great as a horrible movie or horrible as a great movie; an exercise and insight into how not to make movies, especially from a Director who mastered this genre with such brilliance by making the barely plausible--seem possible.
2016-03-13
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
2008-03-04
Chick Flick "Vertigo"
Nearly 20 years before "Vertigo", Alfred Hitchcock made another film featuring romantic atmosphere, social misfits, a possible ghost, and male-female frustration. Except in "Rebecca's" case, it was from the woman's point of view.

"Rebecca" features identity confusion as well, in this case pitting a woman without a face against another without a name. Joan Fontaine is the nameless one here, paid to keep a miserable battleaxe company until she is whisked away in Monte Carlo by rich, debonair Maxim de Winter (Laurence Olivier). It's a perfect fantasy except that the place he lives, Manderley, is a perfect nightmare.

"We're happy, aren't we?" the bride asks at one point. "Terribly happy!" The problem's the dead former Mrs. de Winter whose first name is the movie's title. Based on a best-selling novel by Daphne Du Maurier, Rebecca's malign spell is captured in the ornate but shadowy set decoration, a creepy Franz Waxman score, and the raven-like Mrs. Danvers (Judith Anderson), a maid who pops out of corners of the frame offering unwanted advice on how "the late Mrs. de Winter" would have wanted things.

Beaky, unblinking Mrs. Danvers is one reason guys might find this film frustrating. If she's so nasty, just send her packing, right? But Mrs. D works for me because of the heroine's trembly manner. Fontaine wears her character's insecurity very well. She wants to be on Mrs. Danvers' good side, which only mines "Danny's" contempt. Still devoted to Rebecca, a spellbinding force for whom "love was a game", Mrs. Danvers's perverse loyalty prompts a jealous cruelty. In "The Shining", we learn that people leave traces of themselves in strange buildings after they're gone, like "if someone burns toast". In "Rebecca", Mrs. Danvers IS the burned toast.

Olivier is a bit of a stiff here, though it suits the part. It's a woman's-eye story all the way, with a real tough-love male to draw out his lover's unquenchable spirit. He wins her over to him with such lines as "I should have asked you to have had lunch with me even if you hadn't upset the vase so clumsily" and "I'm asking you to marry me, you little fool". He probably sent her out for Chinese food on their honeymoon, too.

The movie moves very slowly, stringing out every hurt emotion. Because Rebecca was lost at sea, Fontaine has to blurt out at one point irrespective of nothing: "I never have any fear of drowning, have you?" cuing a musical sting. Around Maxim, there are lots of stings. "I'm boorish through living alone", he says, but of course that only makes the heroine's devotion more grand. Like Mrs. Danvers, she loves fully, but not at all well.

Still, "Rebecca" is a solid romantic film with recognizable bits of Hitchcockian suspense worked in the corners. It's his first and most successful collaboration with David O. Selznick (a nudge who this one time was right to nudge), his first American film, and his only Oscar winner.

I can think of several other Hitchcock films deserving of Oscar over "Rebecca". But it's better than no Oscars for Hollywood's greatest director. Looking past that, "Rebecca" is a solid, character-driven story worth watching and appreciating for its own substantial merits.
2010-07-30
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!
2012-07-31
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