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Rebecca
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Directed by Alfred Hitchcock.
Based on the novel by Daphne du Maurier, the classic psychological thriller Rebecca was Alfred Hitchcock's first American film. Joan Fontaine plays the unnamed narrator, a young woman who works as a companion to the well-to-do Mrs. Van Hopper (Florence Bates). She meets the wealthy widower Maxim de Winter (Laurence Olivier) in Monte Carlo, where they fall in love and get married. Maxim takes his new bride to Manderlay, a large country estate in Cornwall. However, the mansion's many servants refuse to accept her as the new lady of the house. They seem to be loyal to Maxim's first wife, Rebecca, who died under mysterious circumstances. Particularly cruel to her is the prim housekeeper Mrs. Danvers (Judith Anderson), who is obsessed with Rebecca. She continually attests to her beauty and virtues (referring to her as "the real Mrs. de Winter") and even preserves her former bedroom as a shrine. The new Mrs. de Winter is nearly driven to madness as she begins to doubt her relationship with her husband and the presence of Rebecca starts to haunt her. Eventually, an investigation leads to the revelation about Rebecca's true nature. Producer David O. Selznick had the final cut of the picture, which was drastically altered from Hitchcock's original vision. ~ Andrea LeVasseur, All Movie Guide
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GoldfishNationGoldfishNation The Geometry of Shadows
by GoldfishNation in GoldfishNation Blog
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"I am going to commit murder," whispers our killer, as the camera flits around the jaded revellers at a New Year shindig. "I can imagine the thrill and pleasure I will experience as I stalk my victim..." Shortly after, John Lubbock (Maurizio Bonuglia) survives an attack in an underpass on his way home, and journalist Andrea Bild (Franco Nero), a fellow attendee, decides to investigate. Then a second party goer - invalid Doctor's wife Sophia Bini (Rossella Falk) - is attacked and killed in her home, and Andrea's elderly editor is found dead in a local park, both bodies accompanied by the killer's calling card (a black glove with first one then subsequent fingers cut off). Suddenly, the outspoken, hard-drinking journalist finds himself rising swiftly up the list of suspects. What raises Giornata Nera Per l'Ariete (aka The Fifth Cord) above the average giallo is striking cinematography and a couple of genuinely suspense-filled murders. The sequence involving the Doctor's wife is the mo ... " [More]
OvationOvation Peter Bogdanovich Interviews Al ...
by Ovation in Alfred Hitchcock
hasn't rated it.
"Peter Bogdanovich Interviews Alfred Hitchcock The legendary interview from 1963 PB: You never watch your films with an audience. Don't you miss hearing them scream? AH: No. I can hear them when I'm making the picture. Do you feel that the American film remains the most vital cinema? Worldwide, yes. Because when we make films for the United States, we are automatically making them for all the world--because America is full of foreigners. It's a melting pot. Which brings us to another point. I don't know what they mean when they talk about "Hollywood" pictures. I say, "Where are they conceived?" Look at this room--you can't see out the windows. We might just as well be in a hotel room in London, or anywhere you like. So here is where we get it down on paper. Now where do we go? We go on location, perhaps; and then where do we work? We're ... " [More]
HairyLimeHairyLime Top notch melodramatics
by HairyLime in HairyLime Blog
liked it.
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"Always forget this one when talking about Hitchcock's movies, perhaps because it was so thoroughly imprinted with the Selznick 'blockbuster' touch. Fresh from the huge success of Gone With the Wind, the formula is attempted again (bestseller adaptation, big name stars) to lesser success, but with darker overtones thanks to a promising young director. Joan Fontaine plays the cringingly obsequious 'new Mrs. DeWinter' (we never do actually learn her name, Maxim usually refers to her as either 'my darling' or 'you little fool'), and while her performance is uncomfortable for the audience, it is very effective, as it tends to put the audience in her corner . . . when she breaks the priceless knick knack on Rebecca's writing desk, our response is the same; "quick, hide it", and we become just as perplexed by her new husband's lightning quick temper outbursts, creeped out by the stern housekeeper (the excellent Judith Anderson), and ge ... " [More]
Review by All Movie Guide
All Movie Guide
loved it.
Producer David O. Selznick's 's second consecutive Best Picture (after the previous year's Gone With the Wind) and another enormously popular adaptation of a bestseller, this adaptation of Daphne du Maurier's novel was also the first American film directed by Alfred Hitchcock. Screenwriters Robert E. Sherwood and Joan Harrison recreated du Maurier's novel precisely, complete with the ideal casting of new star Laurence Olivier as brooding Maxim de Winter and insecure neophyte Joan Fontaine as his timid new bride. Rebecca displayed Hitchcock's unparalleled talent for ominous atmosphere, as he derived suspense from the clash between Fontaine and Judith Anderson's coldly sadistic, Rebecca-obsessed Mrs. Danvers. The elaborately appointed Manderley mansion became a character in itself, with Rebecca's expressively lit, diaphanously curtained bedroom, overlooking a suitably wild ocean, evoking her all-consuming absent presence. Selznick's and Hitchcock's attention to detail paid off with eleven Oscar nominations, including Best Director, Best Actor, Best Actress, and Best Supporting Actress, and it won the top prize as well as an award for George Barnes's cinematography. However, control freak Hitchcock took a break from control freak Selznick for his next film, Foreign Correspondent (1940). ~ Lucia Bozzola, All Movie Guide
 



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