Rebecca [Blu-ray]

Favorite of mine. Watched this with my Mom the first time.

The Best Picture in 1940 and an adaptation of Daphne du Maurier's famous novel. It is not at all surprising this movie won two Academy Awards and nine other nominations. Through the masterful direction of Alfred Hitchcock, you will be kept in complete suspense. The newly restored version from the original negatives is presented full-frame and has been digitally mastered for optimum picture and sound. The result is a sumptuous black-and-white film that is better than I have ever seen it before. They do say this movie gets better each time you watch it, and I must agree. The opening scenes convince you that this is going to be quite a forbidding story. A meandering path overgrown with foliage and a ghostly manor (Manderley) appears out of the Cornwall, England mist. The gothic quality is only the stage for a love story haunted by the memory of Rebecca. While this is mostly filled with suspense and mystery, there are a few moments of humor. While a young woman (Joan Fontaine) is vacationing in the South of France as a ladies companion, she meets a wealthy widower Maxim de Winter (Lawrence Olivier). His wife, Rebecca is said to have died in a boating accident. They fall in love, marry and then he takes her home to Manderley. She is ill prepared for such a position in society and stumbles through her days trying to adapt as best she can. "Rebecca" is the theme of this movie, yet the heroine is the second rather timid Mrs. de Winter when she rises to the occasion and takes on this ghost who haunts her husband. Mrs. Danvers (Judith Anderson) manages the manor and seeks to keep the first Mrs. de Winter's memory alive in an almost obsessive way. She is cold and has no regard for Maxim's new wife's feelings. Judith Anderson is just magnificent in her role and her character is in a way is Rebecca's ghost personified. The conclusion is surprising as we find out how Maxim really feels and the story unfolds one detail at a time to finish with a satisfying conclusion. You will never once think these characters are actors, they are their characters from start to finish. You must watch this movie in complete darkness with just a few candles burning for it to be just slightly scary. One of my all-time favorite movies. Definitely worth owning! ~The Rebecca Review

A haunting masterpiece by Alfred Hitchcock begins on a cliff over the Mediterranean near Monte Carlo. A man is uncomfortably close to the edge of the cliff and close to falling when a young woman (Joan Fontaine) yells, "No! Stop!". On a later occasion these two cross each others path again and they begin to spend more time together. The young woman is suppose to work for an older lady as a friend for hire; however, she has taken ill and the young lady is presented with more opportunity to spend time with the man whose name is George Fortescu Maximillian de Winter (Laurence Olivier), also known as Max. During the young woman's time in Monte Carlo she finds out from her benefactor that Max has recently lost his wife Rebecca in a drowning accident. On the day when her boss is about to go back the United States the young woman becomes panicky that she will not see Max again. Thus, she seeks him out, finds him, and he proposes to her. She becomes the new Mrs. de Winter. However, as she arrives at Max's estate, Manderley in Cornwall, England, she finds herself still living in the shadow of the departed Rebecca. Everything in Manderley reminds everyone of Rebecca and the new Mrs. de Winter begins to feel the ghost of Rebecca being near her. Rebecca is a brilliant film where Hitchcock triggers thoughts and feelings of suspense and suspicion through breathtaking cinematography, stunning sound, and meticulous detailed mise-en-scène. The film is based on a novel by Daphne Du Maurier, who also grew up in Cornwall. This story is a remarkably well adapted for film, since it can get anyone to feel the anxiety of the new Mrs. de Winter as she lives in Manderley. When the audience exhales, they will have received some two hours of suspense and careful character development that leaves them with a excellent film experience.

I read this book many, many years ago and there is still a nice copy on my book shelf. I remember seeing this movie when it first came out and was very disturbed by it. I guess I was just pretty young. Today, it seems like an extremely well made movie as one would expect from Selznik who never did anything half way. Hitchcock did a great job of directing, Joan Fontaine is perfect in the role as is Laurence Olivier. I looked at the special features that include the screen test of Vivian Leigh. Maybe it was because she and Olivier had a "thing" going at the time but she would have been far too coquettish in the role. Thank goodness somebody had better sense. Olivier never put a foot wrong on screen in his life and he is wonderful in this. I really enjoyed it but I am a big fan of B&W classic movies. The only thing I'd have done differently I guess would have been to show the first scenes as they were in the book with the two of them living quietly after the tragedy. Or maybe they could have put that at the end as doing it in the beginning would give the story away to those who have not read the book. As it is, the film ends with them seeing the fire but there is nothing to tell the viewer what they did with their lives afterwards. There is still and always will be I suppose magic in the telling of the story of the rich, older, very tragic man falling in love with the poor little mouse of a girl. My favorite scene was when she had enough of Mrs. Danvers and said "I am Mrs. DeWinter now". Great scene.

No director could have been more perfect to direct "Rebecca" than Alfred Hitchcock. After all, Daphne du Maurier's classic tale of romantic suspense is a complex psychological study, wrapped up in a tale of murder and manipulation. So Hitchcock was in his element in this movie -- he gives it an elegance and glowing beauty, but there's still a raw sea of emotion boiling under the surface. And yes, Rebecca haunts the entire movie, never seen but always present. A timid young woman (Joan Fontaine) is working as a paid companion in Monte Carlo, where she meets the brooding millionaire Maxim de Winter (Laurence Olivier). When her employer unexpectedly decides to leave, Maxim proposes marriage to the young woman, and they are quickly married before setting off to his ancestral estate of Manderley. It seems like a dream come true to the new Mrs. de Winter. But as soon as she arrives, Mrs. de Winter is haunted by the presence of Maxim's first wife, Rebecca. Rebecca was beautiful, charming, accomplished, intelligent and stylish -- and everybody, especially the creepy housekeeper Mrs. Danvers (Judith Anderson) compares them. But when a sunken ship is found in the nearby bay, the truth about Rebecca's life -- and death -- is finally revealed, and it could tear the de Winters apart... "Rebecca" was the first movie that Alfred Hitchcock made in Hollywood, and in many ways it's his most conventional film. It follows the book pretty closely (except for some meddling by the censors), shot in a warmly-lit, elegant style that highlights the beauty of Manderley. Every time things become too comfortable, the presence of Rebecca wafts back in like a ghost. Hitchcock is at his best in the weirder, more twisted parts of the story, such as when Mrs. Danvers takes Mrs. de Winter on a tour of Rebecca's bedroom, or tries to tempt her into committing suicide. And he really hits his stride in the movie's final third, which switches gears from romantic suspense right over to a sorta-kinda-murder mystery. The simmering tension and passionate emotions are absolutely spellbinding. The one big problem? THE MUSIC. Those soppy, swelling, sentimental strings that sometimes blot out dialogue and make the emotional scenes feel corny. If only Hitchcock's more minimalist soundtrack style had been present here! Joan Fontaine gives a pretty good performance as a nervous, insecure young woman who fears that her husband doesn't really love her; the problem with her performance is the weird way she smiles whenever she cries. And Anderson is pitch perfect as the unblinking housekeeper who still has a passionate, almost erotic fixation on her beloved Rebecca -- she glides through Manderley, a figure of cold ghostly hate. And Olivier is the perfect Maxim -- a brooding, tormented soul who is also incredibly passionate... and way too blunt for his own good. He's the ultimate Byronic hottie. And Olivier's performance is absolutely stunning, such as the emotionally charged scene where he describes his life with Rebecca. "Rebecca" is a silken, elegant piece of work, and Hitchcock is at his best when he touches on the twisted, dark presence of the title character. An absolute masterpiece.

THE MOVIE: The first time I saw Alfred Hitchcock's "Rebecca" (based on Daphne Du Maurier's celebrated novel of Gothic romance and psychological suspense) in the mid-1980's, I became obsessed with it; and perhaps that is fitting. 2008 marks the first time in decades that the film has been easily available on DVD (and at a very affordable price as well: Premiere Collection, MGM/UA DVD). Joan Fontaine stars as our heroine, a shy, non-descript, but lovely young woman who is never referred to by name in the story. (For purposes of this review, I'll refer to her character as "Joan"; when discussing Joan Fontaine's performance in the film, I'll use "Fontaine). When we first meet Joan, she is a paid companion to an old, insufferable society snob named Edythe Van Hopper (Florence Bates). Joan meets and quickly marries dour, aristocratic widower Maxim DeWinter (Laurence Olivier). At first, I cheered because the whirlwind romance and marriage saved our heroine Joan from the horrid Van Hopper. But, it turns out, she is merely going from the frying pan into the fire (quite literally). The basic plot is Cinderella's "happily ever after" gone wrong, in grand Gothic style. Once at the imposing, chilly Manderley, Maxim's family estate, Joan is promptly intimidated by the spooky housekeeper Mrs. Danvers (Judith Anderson), who was absolutely devoted to Maxim's first wife Rebecca, who died in a mysterious "drowning accident" one year ago. Joan finds herself almost completely eclipsed by the shadow of Rebecca. Memories of Rebecca are all over Manderley. Rebecca's initials are everywhere; on napkins, handkerchiefs, stationary, pillowcases, etc. Joan confides to the kindly financial manager of Manderley, "Whenever I meet anyone, I feel at such a disadvantage. I feel like they are all comparing me to her-- to Rebecca." One day, Joan wanders into Rebecca's old room in the West Wing, and has a particularly unsettling encounter with Mrs. Danvers. Although Anderson stated there was never discussion of any lesbian subtext in the story, it's impossible not to listen to Danvers' long speech about Rebecca's wardrobe, her underwear, her nightgown, her hair, etc. and not feel that Danvers had a strong lesbian attraction to Rebecca. "Do you believe the dead come back and watch the living?", Mrs. Danvers asks. Mrs. Danvers hates our heroine Joan because she "tried to take her (Rebecca's) place". After a masquarade party goes terribly wrong, Mrs. Danvers goes so far as to suggest (not subtly, mind you) that poor Joan commit suicide. Of course, more secrets about Rebecca and Manderley are revealed, but to reveal any more of the plot would spoil everything for first-time viewers. Although our heroine without a name is shy and (quite understandably) intimidated by her circumstances and surroundings, there is great emotion in Fontaine's truly outstanding performance, and she quickly and easily earns audience compassion and empathy. Of the main cast, only Olivier marginally disappoints. He's stuck with not much of a role. Maxim is a very poor "Prince Charming". He's not around much in the beginning (otherwise our heroine Joan wouldn't be so frightened). Maxim is supposed to be enigmatic and moody, but the character doesn't really come to life until about 90 minutes into the movie, when Olivier gives a long speech about what really happened on the night of Rebecca's death. Next to Fontaine, spooky Anderson, and creepy cad George Saunders (as Rebecca's favorite "cousin" Jack Flavill), both Maxim and Olivier come across as rather dull here. THE DVD: The 2008 Premiere Collection DVD edition contains several Extra Features: * The Making Of "Rebecca": Details the uneven, but ultimately successful, partnership between methodical director Alfred Hitchcock and maniacal, control-freak producer David O. Selznick. (The "O" didn't stand for anything. David just added it for extra flourish). Although "Rebecca" was Hitchcock's first American film, he had already directed such British classics as "The Lady Vanishes" and "The 39 Steps." Hitchcock was definitely not a novice, and he resented Selznick's obsessive demands and interference. Fortunately, Selznick became obsessed elsewhere; with finishing "Gone With The Wind." That epic won the Best Picture Oscar for 1939. When "Rebecca" won the same honor in 1940, Selznick accepted the Oscar. Hitchcock did not win as Best Director. (He, inexplicably, NEVER did)! Therefore, he always referred to "Rebecca" as a "Selznick Picture." Trust me, "Rebecca" is also very much a "Hitchcock Picture." *SCREEN TESTS & RADIO PLAYS": Margaret Sullivan (whose awful screen test for the film is included) stars with Orson Welles and Agnes Moorehead in a 1938 radio "Rebecca", which pre-dates the film by two years. The second "Lux Radio Theatre" version from 1941 stars Ida Lupino. Last, we have a radio version from 1950. starring Olivier and his then wife Vivien Leigh. Olivier was unhappy with Fontaine's casting in the film. He wanted Leigh as his co-star. Their joint 1939 screen test is included. Vivien Leigh (not quite finished playing fiery Scarlett O'Hara in "GWTW) shows more spark and life than Margaret Sullivan, but Hitchcock and Selznick definitely made the right casting choice with Fontaine. *THE GOTHIC WORLD OF DAPHNE DU MAURIER: Explores the relationship between her private life and writing. Also included: Audio commentary by film critic Richard Schnikel, Isolated Music and Effects Track, Hitchcock audio interviews, Theatrical Trailer, and Photo Galleries.

I've enjoyed rewatching this movie for decades and now upgrading my VHS to DVD. As always, Olivier was magnificent in his role... and Judith Anderson was magficient as the cruel housekeeper. George Sanders is always enjoyable in any movie role he played. Each of their portrayals in this movie were truly unforgettable. However, I have never cared for Joan Fontaine's portrayal of the new bride in this movie. She completely overdid the clumsy, fumbling, browbeaten companion with low self-esteem. It was downright annoying watching her overplay the "whipped dog" persona. It is one thing to show an inexperienced, unworldly girl who does not fit in with upper class society and quite another to overplay the role with unrealstic forced expressions and constant self condemnation which are so irritating and unbelievable to the point where you are hoping they will kill off the character as quickly as possible. The viewer simply cannot feel sorry for someone who is so phony in playing the part of the constant victim that it becomes overbearingly annoying within the first 10 minutes she appears in the movie. Those fake expressions were the most irksome of all. I don't know how Olivier managed to tolerate it and still carry the scene enough to get the audience by. I much rather would have watched Ingrid Bergman or Fontaine's own sister Olivia De Havilland in the role. Even IRL, you would become irritated with the constant whining and drum beating of the whipped dog and chronic victim routine which never improves no matter how much reassurance is provided. The audience simply cannot feel sorry for her as she continues to get worse with each passing minute. Although I sympathize with Fontaine's personal issues with sister Olivia's IRL duplicity and admitted manipulating to get what she wanted while appearing genuine and wholesome... her ability to hide that from the public all these years is just one prime example of Olivia's superb acting skills. The audience needed to feel sorry for the new bride... not annoyed with her constant, phony whining for reassurance... and as I said, those facial expressions were more sarcastic than they were of innocence. IRL... I'm on Fontaine's side of the family argument... but when it comes to acting out this role, she simply did not have the skills to pull it off and we all know just how well her duplicitous yet oscar winning actress of a sister was able to win over the sympathy of any movie audience in her portrayals of Melanie in Gone with the Wind or in The Heiress. I can only imagine how she was always the favorite of their mother IRL with those heartwrenching "Melanie" expressions while Fontaine was pushed aside and painted as the villain in her own home as well as in the public eye. A testament to one of the best lifelong acting performances the world has ever seen, by her sister Olivia. With Fontaine in the lead role on Rebecca, her acting alienated the audience so badly that we still cannot remember the first name of her character even after decades and dozens of viewings (did she even have a first name?). Notice in other reviews how they also skirt around the first name of her character. Yet we remember the name of the deceased wife whom we never see and the movie was written about and named for... Rebecca. Without the other three stong actors, the movie would have failed miserably with just Fontaine carrying the weight even though the story was excellent on its own. A definite rare miscalculation on Hitchcock's part. He must have been quite taken with Fontaine on a personal level. It is still a great movie if you can overlook her bad acting in this role. She did much better as a villian than the victim in her movies. An unfortunate curse from her family life. It is still worth watching with the unerring skills of the other three actors and the famous Ms Danvers.... Dame Judith Anderson (An actress whom you younger ones know from the Movies Star Trek I and III as the Vulcan head priestess.) Roddenberry really liked her but they ended up having to pre-fix her fingers for the vulcan hand sign.

Met my expectations of an Oscar-winning Best Picture (while acknowledging that some of the book's content [married women having affairs] was apparently avoided in light of the moral sensitivities of the times....).

Lleva un disco bluray con la película y un DVD con los extras. La calidad del film es bastante buena y ambos discos están prensados. Edición muy recomendable.

I watched "Rebecca" last night. Joan Fontaine is brilliant as the new Mrs. DeWinter. Mrs. Danverse does everything in her power to destroy the new Mrs. DeWinter. Mandalay is displayed like a manor of that era should. Just a great suspense and is a great movie. I recommend this one.

Oft habe ich diesen Film schon im Fernsehen gesehen, ebenso auf meiner alten Videocassette, die es nun nicht mehr gibt. Und jedes Mal gefiel mir der Film besser. Am 23.Oktober 13 lief er in arte und mein DVD-Recorder hatte seine Macken und nahm ihn nicht komplett auf. Nun habe ich ihn, dank der Kauf DVD und habe ihn mir schon dreimal angesehen. Joan Fontaine und Laurence Olivier spielen wirklich mehr als glaubwürdig. Der Film hat eine wahnsinns-Atmosphäre und Spannung, besonders als Maxim und seine junge Frau auf Schloß Manderley eintreffen und die Hausdame Mrs. Danvers mit ihrer kalten, düsteren Art und Erscheinung die neue Misses de Winter einschüchtert und schlecht berät um Zwietracht zwischen der jungen Frau und ihrem Mann zu säen, da sie, Mrs. Danvers, seine 1. Frau Rebecca, bei einem Unfall ums Leben gekommene (es stellt sich heraus, das es kein Unfall war) angebetet hatte wie eine Göttin, da sie eine sehr schöne, elegante und" ideale" Herrin von Manderley war, in jeder Art und Weise Dame von Welt darstellte, wie es hieß. Es scheint, als läge Rebeccas Schatten immer noch auf Manderley und seinen Bewohnern. Als wäre sie allgegenwärtig. Auch der Zuschauer wird in diesen Bann gefangen genommen und fühlt, wie die neue Misses de Winter. Als sie sich endlich mal gegen Mrs. Danvers Bevormundung und Erniedrigung wehrte, freute ich mich richtig mit. Passend in schwarzweiß gedreht, von Daphne du Maurier als Roman geschrieben, verfilmt durch Alfred Hitchcock, der auch hier wieder eine herausragende Arbeit ablieferte.

sublime.

This is one of Hitchcock's best films, his first for Hollywood. While it has his traditional themes of the murder mystery, there is an additional level of psychological realism that is missing in most of his later films, all in a splendidly atmospheric gothic romance, complete with a dark and ruined aristocratic mansion and the stuffy cruelty of the British upper classes and their servants. I will describe the setup of the plot, but not reveal any spoilers. Fontaine is a young lady down on her luck, working as a companion - a kind of servant and sycophant - for an aging matron on vacation in the Riviera. The old lady is oppressive in her demands and expectation that Fontaine will submit to her whims without question, a cipher to intimidate and humiliate. But Fontaine's youthful radiant beauty gains the attention of a mysterious widower, Maxim, played by Olivier (he too is young, but always looks old). They begin a furtive romance, but there is something extremely dark and almost dead about him, a pull from another life or presence. Once married - and warned with the cruelest condescension by her former employer that she will never be able to handle her new responsibilities - they move into a massive mansion in England. The servants, in particular the head woman, declare a kind of war on the young lady, who accepts her role yet is intimidated by their apparent sophistication and expectations. The terrible presence in the house is the departed Rebecca, whom everyone seems to idolize and love. Fontaine must fight this, feeling her husband compares her unfavorably. With all these pressures, she becomes depressed and ever more fearful, lost amidst characters whose motivations are impossible to understand. What happened to her? Is there any chance she can find peace, if not happiness, with Maxim? These questions plague the girl as she explores the forbidden wing of the mansion. Her life seems to be going nowhere, as stagnant as her marriage begins to feel. Then suddenly, an incident opens Maxim to her, and he confides in her finally. Things are not what they seemed and a difficult imbroglio follows that involves violence and accusations, climaxing in destruction. While romantic, the buildup is both frightening and depressing, an odd combination but completely believable. Though it now appears as a kind of relic, this is a great viewing experience for film buffs and Hitchcock fans, but it should be entertaining for casual viewers as well. Warmly recommended. It is a masterpiece and the acting is first rate.