Rebecca (1940) User Reviews (419)

A film with a nameless protagonist and an invisible namesake

[AlsExGal · 9/10 · 15 January 2017]

This was Alfred Hitchcock's first American-made film. Quite frankly, I'm amazed at how well Hitchcock "got" what American audiences wanted in their suspense films, hitting them out of the park from the moment he began working in the US.

Apart from being a tad bit long, this is a well made film. I love the inside of Mandalay and Sir Laurence Olivier played a wonderful mysterious and sullen Maximillian De Winter opposite his new wife, a beautiful and naive young Joan Fontaine who is never even given a name here, probably deliberately and in keeping with how mousy and "second hand" she feels about herself in relation to the first and late Mrs. De Winter, who is actually Rebecca from the title.

Of course there is also George Sanders, playing the type of character he is best known for--sarcastic, snobby, self-assured, pompous, witty and verbose. He hits the nail on the head as Rebecca's "cousin" - so he calls himself. Of course the most eerie and unsettling character was Mrs. Danvers, Rebecca's housekeeper or "maid in waiting." Danvers takes great pains in sabotaging the second Mrs. De Winter's marital relationship with Max de Winter,--even going as far as calmly urging her to to plunge to her death into the water from Rebecca's bedroom window at Mandalay. There are a couple of twists in this movie, but I won't give them away. It's best if you watch them unfold yourself in true Hitchcockian style.

I will say that Rebecca, the first wife of Max de Winter, is NEVER seen, but we learn about her by what is said about her by the various characters, even going as far as seeing the untouched shrine of a bedroom maintained by Mrs. Danvers. But soon you learn that Rebecca was never the perfect wife Danvers and others make her out to be. The ending is a surprise in more way than one, and yet Mrs. Danvers gets the last word in her own way. A great movie by Alfred Hitchcock and David O. Selznick.

Answered Questions

[LuuxeDelux · 8/10 · 23 March 2018]

I'm not saying that this is one of my favorite Hitchcock films (it isn't), but it IS one of my favorite books. Because of the production code being in full swing in 1940, several main plot points are either much too subtle or were left out of the film altogether, and I want people who have seen "Rebecca" to understand some of the most important things in the story.

-First of all, why the heck was Mrs. Danvers such a creep? Because she was in love with Rebecca, who was using her like she used everyone else! Daphne du Maurier (the author) was also a lesbian, and this dynamic in her writing was intentional. If you watch the movie again with this in mind, with Danvers as a jilted lover who was upset by 1) Rebecca's cheating on her (and Max); 2) R's supposed pregnancy; 3) Rebecca's drowning; 4) Max's remarrying; 5) Rebecca's body being found (again); and 6) the new Mrs. de Winter's getting rid of Rebecca's things, it makes a LOT more sense. Trust me. Danvers was not *just* creepy / evil.

-Why did the relationship between Olivier and Fontaine seem off? Because it was. He was distant; she was naïve; it was supposed to be a weird match. They actually only really fall in love when she helps him cover up the murder (in the book, he DOES kill Rebecca, not just cover up her death - the revelation / plot twist is not just that he murdered her, but that she was a really manipulative and horrible piece of work under all of her "charms", and that he hated her.

The book is amazing. I won't tell you everything that Hitchcock had to leave out, but the film does seem unfinished because of it (and Fontaine overacts like crazy).

Hitch's first hit from Hollywood.

[BA_Harrison · 8/10 · 13 February 2020]

Director Alfred Hitchcock is renowned for his visual acuity, creating some of the most memorable shots in movie history; he also had a keen eye for beauty, casting some of Hollywood's most stunning actresses in iconic roles: Grace Kelly in Rear Window, Maureen O'Hara in Jamaica Inn, Tippi Hedren in The Birds, Ingrid Bergman in Spellbound, and Janet Leigh in Psycho, to name but a few. Perhaps his most enchanting leading lady was Joan Fontaine, who won an Oscar for her role in Suspicion (1941), but who was never more appealing than in her first film for Hitch, Rebecca, based on a novel by Daphne Du Maurier.

The gorgeous Fontaine plays a meek young woman (we never discover her name, but she's not the 'Rebecca' of the title) who falls for rich aristocrat 'Maxim' de Winter (Laurence Olivier) while working in the South of France. Equally besotted, Maxim proposes to the self-effacing beauty, and takes her back to his ancestral home, Manderley, which he once shared with his first wife Rebecca, before she drowned in a boating accident. The new Mrs. de Winter does her best to adapt to her new lifestyle, but is constantly under the shadow of her predecessor, with stern housekeeper Mrs. Danvers (Judith Anderson) being particularly disapproving of Maxim's new bride, deliberately driving a wedge between the married couple and even going so far as to try and talk Mrs. de Winter Mk. II into killing herself.

Thus far, the film is pure melodrama and sappy romance, and avid Hitchcock fans might be wondering where the murder and mystery is; worry, not, for this comes in the second half of the film and provides plenty of intrigue and suspense as Maxim reveals what really happened to his first wife and is subsequently suspected of her murder. Both his wife and the viewer are aware of his innocence, but with Rebecca's lover Jack Favell (George Sanders) accusing Mr. de Winter of murder, and plenty of damning evidence, things are looking pretty bad for the poor fellow. It all wraps up nicely in the end, of course, but there are plenty of tense moments along the way, all handled in the director's typically assured manner, with bags of atmosphere and sumptuous cinematography.

But as great as the direction and story are, it is the performances that really make Rebecca a winner: Olivier is perfect as the troubled toff, Anderson is wonderfully wicked as scheming housekeeper Danvers, nobody does 'bumbling oaf' quite as well as Nigel Bruce (playing Major Giles Lacy, who puts his foot in his mouth whenever he speaks), Sanders is suitably slimy as adulterous blackmailer Favell, and Fontaine... well, she is completely captivating, every smile, every tilt of her head, and every nervous glance guaranteed to win over the viewer (she was nominated for Best Actress in a Leading Role at the Oscars, but lost to Ginger Rogers). Hell, even the dog that played Maxim's mutt Jasper was excellent (so cute!).

If you want to be totally enthralled for two hours just watch 'Rebecca'!

[Infofreak · 8 July 2004]

Hitchcock felt 'Rebecca', his first Hollywood film, was a compromise, but as a viewer I just can't fault it. It's a masterpiece in my opinion, full of suspense, mystery and brooding atmosphere. It's also one of the most romantic movies I've ever seen. I've watched it several times over the years, and even now that I know all the plot twists and turns (quite shocking on your first viewing), it never fails to hook me in. One of the reasons it really works is the flawless casting. I'm not much of an Olivier fan but he's superb as de Winter, with just the right mixture of charm and coldness. And Joan Fontaine is just perfect as de Winter's new bride. I can't spot an unconvincing moment in her performance and can't imagine any other actress in the role. Hitchcock subsequently used her in 'Suspicion' with Cary Grant. She was also excellent in that but 'Rebecca' is a much stronger movie. The supporting cast also includes some brilliant performances, especially Judith Anderson ('Laura') as the extremely creepy Mrs. Danvers, George Sanders who plays Rebecca's slimy cousin, and Nigel Bruce in a typical role as de Winter's bumbling brother-in-law Major Lacy. Sanders subsequently worked again with Hitchcock in 'Foreign Correspondent', and Bruce played Cary Grant's lovable pal "Beaky" in 'Suspicion'. I sometimes think that Hitchcock's 1940s movies are overlooked by many because they are regarded as being too "old fashioned", but for me movies like 'Suspicion', 'Saboteur', 'Lifeboat' and 'Spellbound' are some of the most entertaining movies Hitchcock ever made, and 'Rebecca' is the best of the lot. If you want to be totally enthralled for two hours just watch 'Rebecca'!

What Atmospheric Gothic-horror Should Be.

[nycritic · 10/10 · 5 March 2005]

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.

Chilling and dramatic- a must see for Hitchcock fans!

[TheLittleSongbird · 10/10 · 15 June 2009]

I am 17, and I love this movie. One definite positive of Rebecca is the masterful direction by Alfred Hitchcock, full of the usual twists and turns that make his films so pleasing. The chilling and suspenseful story, of a timid young woman marrying a man and finding herself in the shadow of his dead first wife, has many complex issues, such as the possibilities of suicide, murder and mistaken identity, all of which took me completely by surprise. Rebecca also has gorgeous black and white cinematography, and a beautifully atmospheric music score. But it's the performances from the distinguished cast that holds this film together. Laurence Olivier, one of Britain's finest stage and film actors(you only have to see him in Shakespeare to know the talent this man had), gives a towering performance as Maxim De Winter, a broken man haunted by his first wife's death. The lovely Joan Fontaine is the picture of innocence and vulnerability as the 2nd Mrs De Winter, giving a genuine sense of fright and emotion throughout. Also superb is the suave George Sanders as the rather loathsome blackmailing Favel, who smirks and makes acidic remarks as effortlessly as Clark Gable did in Gone With The wind. But stealing the acting honours is Judith Anderson as the housekeeper Mrs Danvers, a performance that is truly sinister, like the scene when she sets Manderly on fire, her facial expression looking out of the window gave me the shivers. The script was tense, dark and flawlessly delivered. Through the characters we hear that Rebecca was beautiful and possessed all the other positive virtues, so I was shocked when that wasn't to be. All in all, a chilling and dark film, that is a must see. 10/10 Bethany Cox.

Place Holder

[kosmasp · 10/10 · 10 July 2021]

Hitchcock - never won an Oscar - not in the Best Director department that is. He was nominated multiple times, but never got one. At least this movie right here won one for best movie. I know it is sometimes strange how a movie can win best movie, but the Director won't get one too.

Anyway that does not change the perception most have of him: as one of the best directors that ever made movies. And he made lots of them thankfully. I finally came around watching this one - just before I went ahead and watched the "remake" that Netflix released last year. I put "remake" in quotes because the movie itself does try to establish itself as being based on the source novel.

Now I have not read that, so I can't attest to all the changes that were made (although one was made for the ratings board considering the fate of Rebecca - and that was also used in the Remake). Humor was added though apparently and I would guess that the actors made their roles their own. In combination with what Hitchcock was able to get out of them.

Many takes on the most simple things apparently and even a lot of looping (dubbing) of lines that he wasn't too keen of. But I've written so much and have not even touched the surface of what makes this movie great.

You have a movie that is about the role of a woman - a second wife no less. A movie that seems to tell so many stories - but especially a story that concentrates on the female main character. Some have claimed that Hitchcock was a misogynist. On the other hand the extras here and some feminist claim the exact opposite. Even in his (infamous) interview with Truffaut, some might say it became clear he was more feminist than he liked to admit.

And the movie right here seems to be able to capture many feelings of women. Even add some bi-sexual or lesbian love? You could read that into it - maybe it is in the book too. Again, I can't really tell.

Every frame here is planned into the smallest detail. Nothing is left to chance and coincidence. There is a reason he is considered a master. The performances of the couple is amazing - Olivier may not be easy to read, but that is again on purpose.

You also have the whole theme of romance and the age gap ... love, betrayal, addiction ... so many themes woven in here. And the overall presence of ... Rebecca. A presence that is felt throughout ... while never seen. And yet it is better this ... it is perfect as it is.

All around, an excellent production.

[FiendishDramaturgy · 10/10 · 3 December 2003]

his movie is a 10 from the very beginning. The casting is brilliant, the story is hauntingly beautiful, the performances are the best of what Hollywood once was, and the sets are of quality design and architecture. The direction is awesome, but it's Hitchcock, and I expect nothing less from his productions.

Rebecca is a glamorous, beautiful socialite who has won the hearts of all who knew her. Well, almost all. But a year after her untimely death, her grieving husband near his wit's end, has grown seemingly suicidal and aloof.

He engages his grief while on a trip to Monte Carlo, and meets the beautiful personal secretary and maid of a long-time friend, Mrs. Edythe Van Hopper. She is young, naive, and completely unprepared for the life which is awaiting her; all qualities which George Fortescu Maximillian 'Maxim' de Winter finds endearing.

I won't detail the events in this movie, as the story itself is quite haunting, with surprises around every turn.

This is a definite "must have" in any suspense / horror / Hitchcock / classics movie collection, and a mandatory must see for all fans of all movies.

It rates a 10/10 for its absolute perfection, from...

the Fiend :.

Overappreciated

[fletch5 · 6/10 · 8 September 2000]

"Rebecca" is often mentioned as one of Hitchcock's finest works. In my opinion, it's his most overappreciated film. I just don't understand what's so good about this overdramatic, fairly unhitchcockian yarn. It goes on and on and on revealing "the secrets of Manderley", and then ends quickly, almost furtively. Maybe the maestro himself didn't like the film neither, because his cameo is a really hard one to catch! Still, "Rebecca" is worth seeing at least for Judith Anderson's amazing performance as the evil Mrs. Danvers.

If you're a Hitchcock fan, take notice that Leo G. Carroll (Dr. Murchison in "Spellbound", senator Morton in "Strangers on a Train", the professor in "North by Northwest") makes his first appearance in a Hitchcock movie as Rebecca's doctor (near the end of the film).

One of Hitchcock's best films

[dave fitz · 10/10 · 1 May 2000]

In his long career, Alfred Hitchcock directed many great films. Rebecca ranks as one of the greatest. It was the only Hitchcock movie to win a Best Picture Oscar and it was his first Hollywood film after leaving England. This was also the first film in which he adapted someone else's work, the famous novel by de Maurier.

This film features all the twists and strange characters you would expect from Hitchcock along with the trademark unexpected ending. Sir Laurence Olivier is great, as usual, as Maximillian de Winter. The stunning Joan Fontaine is wonderful as "the Second Mrs. de Winter". Rebecca is an entertaining thriller by one of the masters of film.

Ultra-Classy Adaptation Of Classic Gothic-Romantic Mystery

[ShootingShark · 7/10 · 14 August 2005]

A young woman falls in love with the troubled Maxim DeWinter when they meet in Monte Carlo. They marry and he takes her to Manderley, his mansion in Cornwall. Once there however, she is overcome at every turn by the ghostly shadow of Rebecca, De Winter's first wife, who drowned under mysterious circumstances a year before.

Hitchcock's first American film is a gorgeous adaptation of Daphne Du Maurier's classic novel, sumptuously produced by David O. Selznick. I'm not generally a fan of classical romantic fiction, but Rebecca is most definitely an exception; not only does it have several great plot-twists but the central character is brilliantly conceived and entirely sympathetic, and the brooding Gothic atmosphere of both Manderley and Rebecca confine the drama within a tremendously chilling ghost story. The cast are all first-rate but both Fontaine and Anderson give career-defining performances. Fontaine is tremendous - beautiful and passionate in an earthy, selfless way that fits her nameless character perfectly, whilst Anderson, as the villainous Mrs Danvers, is so good that she single-handedly launched a standard movie stock-character (the over-zealous housekeeper) in hundreds of subsequent films. This was the movie which allowed Hitchcock to paint on a really huge canvas, and he creates a powerful sense of dread - you can almost feel Rebecca's presence in the film. There's a stunning shot of Mrs Danvers opening some drapes, where he suddenly freezes the frame and dissolves to the next scene, epitomising the essence of the story - a place frozen in time, where nobody can move forward or shake themselves free of the past, and everything is stagnating. For my money this is the best Gothic romance ever filmed; a brilliantly directed movie of a tremendous book.

Do you think the dead come back and watch the living?

[hitchcockthelegend · 10/10 · 4 March 2008]

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

'Best Picture' that opens the decade of the 40's with the darkness of the great Hitchcock

[kevvportela · 7/10 · 19 May 2021]

Alfred Hitchcock's first Hollywood production, starring Joan Fontaine, Laurence Oliver and supported by Judith Anderson.

It is a film with a dark aura, exquisite in its shots that seem empty but immediately one delights in those empty corridors being able to imagine the echo of those large spaces in that house. It has a lot of personality, and that is because of its legendary director who takes all the credit for me. The plot is well run and accessible, it became a bit dense in the middle. The way Rebecca's character is put together is great, it doesn't require an actress to play it because in our minds she has her own face and scenes, even the energy that adheres to the character.

The performances were neat, it is the first film I have seen by Joan Fontaine and I admit that she did not surprise me, I suppose that her character was not so enthusiastic. Laurence manages to stand out a little more giving having the role of developing the twist of the film, where he takes it out of that seemingly nostalgic and gray character, and becomes something darker. Judith Anderson stands out strong with this sinister and insane housekeeper, a superb performance that works.

Film nominated for 11 Oscars, winning two, including the most important of the night "Best Picture". It is the first film of the mystery and dark genre to win in this category, surprising as I have read here that it is the only Hitchcock film that has achieved this.

Proof people praise what is expected to be praised

[riverspipe · 5/10 · 2 April 2005]

There are two moments of cinematic greatness in this film. 1)The home movie scene, and 2)the scene involving Danvers manipulating Joan Fontaine after the costume ball. But though these memorable instances attempt to cajole us into admiration during the viewing, the overall product beckons us to reexamine our initial wooing. There are a few other moments of atmospheric success, and Fontaine's initial arrival and exploration of Manderlay and its characters is interesting, but otherwise, the film is often mediocre, and sometimes even poor. Laurence Olivier is very stale and does not exude much of a presence, nor a riveting sense of charm. Fontaine is better, but her character is completely over-the-top. She seems well adjusted and interesting at first, then does nothing but shake and stand with lost eyes for the rest of the film. I know the situation is supposed to bring about such behavior, but it is just too much. The chemistry between the two characters is horrible. Perhaps that is supposed to demonstrate the awkwardness in their relationship. But, then we find de Winter really does love her, and he hates his dead wife. So while his madness translates well, his supposed love for her never does. Not even at the end. And hers for him feels impossible to get our heads around, since he never does anything but be rich and handsome to impress her. I know, I know, those are the dynamics of the relationship, and some of them are more subtle (e.g. de Winter probably goes for her because she seems sexually tame and timidly obsequious), but it still does not feel right in the end. The characters' actions are too shortsighted for the overall plot.

The film often has no momentum, and drags on forever. The entire opening courtship can be eliminated since it is not efficacious in convincing us of much romance anyway. Then there is the second part, where Fontaine slowly learns the secrets of Manderlay, and though this probably is the best part of the film, it still never feels like it is building to a climax, even though every scene attempts to convey a bit of foreboding intrigue. Instead, it becomes monotonous; precisely because every scene is exactly the same. The end feels like it should approach soon after Danvers diabolical rant. Then there is Olivier's admission, and it feels like it should come again. But again it doesn't, and when the ending finally does come, it is of such an enormous magnitude that it feels too brief.

Then there is the story, which I believe has a couple of plot holes, and realistic dilemmas, though I cannot say with absolute certainty. The film has a chance, but not without a reassessment of the script. Another chance at astonishing greatness blown.

A Wonderful Film

[sundae · 11 October 2000]

This is one of my favorite movies of all time. Definitely my favorite classic. There are some that come close, such as Citizen Kane, Spellbound, and Psycho, but none quite compare to this amazing movie.

The first thing that you notice is the outstanding cinematography. You have to remember that this movie was made in 1940, when they didn't have the technology we have now. But that first shot of the water beating up against the rocks grabs you and for one split second you wonder if maybe this isn't part of the movie but rather something filmed just recently. But then you see the familiar face of Laurence Olivier, reminding you that this was made 60 years ago, a fact that forever amazes me. The only oscar it won besides Best Picture was well deserved.

Another thing that makes it such a wonderful film is the acting. I have debated on whether Laurence Olivier's character, the tortured Maxim de Winter, is the pitiable character or if his second wife played by Joan Fontaine is really the one to feel sorry for. Every time I watch it I see it from a different point of view. Joan Fontaine is excellent. Laurence Olivier is wonderful, but that's no surprise. The only thing that bugs me is that it seems in every movie he's in (well, at least, everything I've seen him in), he always plays the same type of character. But he's extremely good at it, so I suppose it doesn't matter.

But although Joan Fontaine and Laurence Olivier are wonderful, Judith Anderson steals the show! The first time I watched the movie, I was immediately grabbed by her stunning performance as the sinister Mrs. Danvers. You hardly notice the other characters when she's in the scene. She acted the part so well that it's strange to imagine that she was any different in real life.

With a wonderful storyline, and a very surprising ending, Rebecca well deserves the title as the only of Hitchcock's films to win the oscar for Best Picture. Although it may not be the most famous of all his films, it is without a doubt the greatest

A Classic on par with "Citizen Kane"

[Twillhead · 10/10 · 11 June 1999]

In a line-up of great motion pictures, "Rebecca" stands as one of the giants. It is arguably Hitchcock's greatest film effort, replete with jolting, slap-in-the-face plot twists and gothic sets. Dark and moody, the film boasts Sir Laurence Olivier and Joan Fontaine in slam-dunk, dead on performances, George Sanders as the deliciously despicable Jack Favell, and Judith Anderson nearly stealing the show as the eerie, obsessed housekeeper, Mrs. Danvers. A perfect "10".

Hitchcock's first great American success in a classic story with a love story and suspense

[ma-cortes · 8/10 · 5 October 2006]

This is a Daphne Du Maurier's story (from a best-seller novel) concerning a prominent widower (Laurence Olivier) called Maxim De Winter who finds a gorgeous and timid young girl (Joan Fontaine) who is serving to an old Mistress (Florence Bates) . They are married and head to Manderley , the familiar mansion (in the exterior actually is a scale model). But Maxim is haunted by the ghost first wife , an enigmatic Rebecca , who died in mysterious circumstances . There works as a servant the creepy and obsessive housekeeper , Mrs Danvers (Judith Anderson,a famous stage actress in her most important role) and sh meets a cynic gentleman (George Sanders).

This film has suspense , romance , unlimited tension , full of lingering images and with the typical touches Hitchcock . Besides , a literately and thoughtful dialog signed by Joan Harrison (Hitchcock's usual screenwriter) though lacking humor . After ¨39 steps¨and ¨Jamaica Inn¨ , Hitch was encouraged to go to America and promptly shot his first work in Hollywood hired by the great producer David O'Selznick . Fine performance by Laurence Olivier , he married Vivien Leigh and he wished to her as protagonist but Hitch hired Joan Fontaine who took seven rehearsal sessions until the engaging . Joan Fontaine as a shy bride young is superb and enjoyable . Judith Anderson as a spooky and cold house keeper is top-notch, her role as obsessed person by the glamorous Rebecca is unforgotten and immortal . Atmospheric and perceptible music by Franz Waxman and sensational visual style by the cameraman George Barnes . The picture won Academy Awards for Best film and cinematography . The movie was brilliantly directed by the Master of Suspense . It's remade in inferior versions for Television, the 1980 adaptation with Jeremy Brett as Maxim and 1996 rendition with Charles Dance and Emilie Fox . The motion picture is indispensable watching for Hithcock lovers achieving the maximum impact on his audience.

My brief review of the film

[sol- · 10/10 · 3 January 2005]

A stylishly directed and photographed film that examines a number of themes, such a deception, death and depression, and explores well the emotions of its characters. It is rare to find a film like this, as it tackles various genres, ranging from being a romance to a mystery to a drama to even a comedy at times, and all without seeming pretentious. The cast is truly magnificent. Judith Anderson is a stunner is a quiet but sinister role, and George Sanders is even more impressive in lively but also sinister performance. Laurence Olivier and Joan Fontaine are perfect for their roles too. The film won Academy Awards for Best Picture and Best Cinematography quite deservingly – this is one of the best films Hollywood has ever produced.

'Happiness is something I know nothing about'...

[Xstal · 9/10 · 11 September 2020]

... and it's clear to see throughout that Maxim de Winter is not overwrought with joy as we witness a story tacking in one direction, gradually adjusting course to another and finally distorting and folding in on itself with magnificent Hitchcockian escalation towards the end.

If you view this through contemporary eyes alone it's easy to see it as dated, old fashioned, antique perhaps, many things in the past fall foul of fashion sooner or later. Place a pair of pince-nez on the bridge of your nose and witness two great stars, Joan Fontaine is outstanding, add immense depth to an already deep, dark and disturbing tale with some sinister supporting characters thrown in for good measure, none more so than Judith Anderson as the mysterious and cryptic Mrs. Danvers.

A sumptuous Gothic...

[moonspinner55 · 7/10 · 6 November 2006]

Daphne Du Maurier's novel becomes a handsome romantic-thriller from director Alfred Hitchcock involving a naïve young woman (Joan Fontaine) who weds a wealthy, mysterious man (Laurence Olivier) and moves into his imposing castle filled with memories of his deceased first wife. Despite a stiff opening reel, "Rebecca" is a well-mounted psychological melodrama in the "Jane Eyre" vein. Judith Anderson's Mrs. Danvers has been interpreted (and misinterpreted) to death--she's indeed a little grandiose--though it's still a stunning characterization: a steely-eyed villainess who ranks right up there with the most enjoyable cinema-baddies. The movie gushes and flutters over Olivier almost as much as Fontaine does; he's quite good, but this turns out to be Joan's picture. Increasingly insecure, nervous, chatty and overeager, Fontaine runs the gamut of emotions and is never less than compelling. 11 Oscar nominations with two wins: George Barnes for hsi cinematography and for Best Picture. *** from ****

Sucks you in totally...a high romance with astonishing sets and photography

[secondtake · 10/10 · 31 March 2010]

Rebecca (1940)

Ah, to see another great movie from those few years when Hollywood peaked, when that combination of art, freshness, and sheer collaborative talent combined over and over. I'm talking from Gone with the Wind to Casablanca, 1939 to 1942. Throw in any number of truly staggering movies in the stretch--Citizen Kane for starters--and we have to almost expect Alfred Hitchcock to fit right in. With Rebecca he does. It's another perfect movie.

Daphne Du Maurier's book of the same title is a great read, something short of a literary classic but something better than a mere best-seller. I read it recently, and was completely transported into a land of subtle drama. That sounds like an oxymoron, but when you see this movie you'll notice how people act with restraint, with glances, with quiet actions, and yet achieve a grandiose, dramatic effect that tears your heart out. It's an archetypal story about a girl who seems to have a dream come true marrying a charming and very wealthy man.

But of course, there are skeletons in this man's closet, and Lawrence Olivier plays the inner struggle of Maxim close to the chest. More openly troubled by events, and so sympathetic your heart jumps out of your chest, is the girl, his wife, played by Joan Fontaine. Now here is a performance that is just incredible. She even changes her presence as her innocence slowly bleeds away from start to finish. If the two of them never quite have sparks fly, they're not supposed to.

But Hitchcock has done more than chosen a great, cinematic novel and two amazing actors (as well as a flawless supporting cast). With the most romantic, lush sets, delirious lights, and rich, layered photography, all fluidly combined to create scenes so beautiful you can almost taste it, the director has shown, again, that he understands the intuitive power of the cinema. It isn't the outward brilliance of any one scene or shot, or any one conversation that the camera follows invisibly, or any flinging of the curtains to reveal only more fog or sheer obscurity. It's the pacing and sequence of these moments that sucks you into the world and won't let you go.

Well, it's no surprise, maybe, that Rebecca won best picture and best cinematography at the Oscars. And it was up against The Letter, The Grapes of Wrath, and The Philadelphia Story, all of which are more proof that the movies of this period are a zenith of a certain kind of Hollywood. The studio system. (Yes, there are hundreds of other great movies from other years, but I'm not really trying to make my case here.) Hitchcock never won an Oscar for best director (neither did Welles), but he could have here without fault. As much as this is just a movie to get lost in and enjoy, it's also a movie you could watch over and over and study.

Rebecca

[oOoBarracuda · 6/10 · 10 January 2017]

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.

A classic adaptation of the great novel.

[Sleepin_Dragon · 10/10 · 12 April 2023]

A shy, naive young woman travelling as a pair companion encounters powerful, handsome widower Maxim de Winter, the pair quickly fall in love, and she moves to his family home.

This film is without doubt, something of a masterpiece, there have been several adaptations of it, and it remains the ultimate adaptation.

Hitchcock deserved an Oscar for this film, it really has stood the test of time. It has multiple quality elements, mystery, intrigue, romance, horror, it really does capture the imagination.

Almost every sequence is meaningful, nothing feels unimportant or meaningless, every action has purpose, some are subtle, some are heavy.

It looks sublime, production values are terrific, you can see lot went into it. Despite a fairly lengthy running time it never feels long or drawn out, it holds your attention so well.

The acting is first class, Laurence Olivier and Joan Fontaine are absolutely perfect, exactly what I see from the book, the standout for me however, is Judith Anderson, who gives an incredible, chilling performance as Mrs Danvers.

10/10.

Worth watching, but not one of Hitchcock's masterpieces

[sascha_z · 6/10 · 24 March 2023]

"Rebecca" (1940) is a classic film by the master of suspense, Alfred Hitchcock. However, while the film is certainly entertaining, it falls far short of the masterful pieces of Hitchcock's later career and is, in fact, overrated.

One of the primary issues with "Rebecca" is the implausibility of its story setup. It is hard to believe that a stunningly attractive girl like Rebecca would marry someone for their wealth without any emotional interest whatsoever, especially when she could marry anyone who had both wealth and whom she might love. Furthermore, it seems improbable that Maxim de Winter would not have the faintest clue that Rebecca was a cruel, evil monster before marrying her. Additionally, it is difficult to believe that de Winter would leave the management of his entire estate to someone as stereotypically cruel and obviously insane as Mrs. Danvers.

While some other aspects of the story are explained in the film, such as why de Winter did not simply get divorced to save himself from suffering, these explanations still feel barely believable. The acting does not help matters, as never for a moment does one feel that de Winter is genuinely in love with his second wife - who in turn comes across as extremely naive and silly, even if her daunted timidity is well portrayed. Meanwhile, Mrs. Danvers is portrayed more as a fairytale witch than a real person. The list goes on.

Moreover, the police investigation and the ad-hoc incrimination by Mr. Favell have nothing to do with any sort of reality. You might argue this is consistent with the overall mystic-nightmarish ambience of the movie. But as a psychothriller, it is psychologically way out of line. Perhaps it might have worked better as a gothic tale or horror film.

Finally, the film is permanently drenched in a cheesy sauce of music, which becomes annoying after a while.

While "Rebecca" is undoubtedly worth watching as a classic of the genre, it is not a must-see film in Hitchcock's oeuvre.

Wonderful Visuals, But A Big Yawner Overall

[ccthemovieman-1 · 4/10 · 24 May 2006]

This review won't be accepted gracefully on this website but at least I am honest in telling you this was a big disappointment to me, considering all the great reviews I read (not here) prior to seeing it. Some of that praise is simply because it's an Alfred Hitchcock movie with "Hitch" being a big favorite among national critics.

Even though I own a good amount of classic films, this was way too slow, way too corny and old-fashioned. I should re-purchase this film and use it the next time time I have trouble getting to sleep at night.

Joan Fontaine has a nice, pretty wholesome face but that's about it. Her character in this was just plain stupid and got worse as the film wore on, especially at the end. Judith Anderson, whom I read was so "creepy" in this, was not anywhere near as evil as built up to be. As usual, the real-life wacko, George Sanders, is the most interesting actor in the film.

Having said all that, I do want to highly praise the sets and camera effort of this movie. The best part of this melodrama was the cinematography with some wonderful scenes inside "Mandaly" (the mansion). The cameras did a great job with the use of shadows, some of the best I've ever seen. Without the visual treats, I doubt I could have stayed with this 130-minute film.