This is my entry for my Alfred Hitchcock blogathon being held in a few days time. I can’t wait to read all of your entries. If you would like to join in there is still plenty of time for you to do so. Learn more and sign up here. See you all on the 6th and 7th of July.
There are not enough words available for me to be able to use to accurately describe how much I love the film Rebecca. I consider it to be one of the best Gothic films ever made, and I consider it to also be one of the most engrossing and visually interesting Alfred Hitchcock films.
Rebecca is a haunting, gripping, suspenseful and creepy film. It is also a film that lingers on in the memory long after you’ve finished watching it. The film features Joan Fontaine delivering one of her best screen performances, that of the shy, tormented and emotionally fragile young woman who attempts to take the dead Rebecca’s place as mistress of the Manderley estate(based on Daphne Du Maurier’s house in Cornwall, which was called Menabilly). Judith Anderson delivers the other standout performance in the film as the sinister and obsessed housekeeper, Mrs. Danvers.
Mrs. Danvers pushes the second Mrs. DeWinter to the edge. Image source IMDb.
Rebecca was Alfred Hitchcock’s first American film, and it was also his first film made under contract to the producer David O’ Selznick. The film is one of Hitch’s most atmospheric and intriguing. The film was based upon the novel of the same name,which was written by the great Daphne Du Maurier in 1938. The novel is one of my favourites and I especially love how vivid and fascinating it is.
Rebecca is a book that really draws you in, and I think that Hitchcock’s film does the same thing. He also did a terrific job of capturing the eerie atmosphere of the novel. He makes us actually feel the oppressive presence of the dead Rebecca De Winter, and he does so without ever showing us her face. We don’t need to see Rebecca in flashbacks or photos to know what she was like, instead we learn what we need to know about her just as the new Mrs. De Winter learns it. We also only become aware of Rebecca’s lingering presence and influence just as the new wife becomes aware when she takes up residence in Manderley.
Besides being extremely atmospheric and intriguing, this film is also a real character piece. It is the unseen Rebecca who actually becomes the most memorable of all the characters in the film. The memory of Rebecca haunts most of the main characters who we follow throughout the film, and in this regard the film could easily be considered a ghost story, all be it one without the physical manifestation of a spirit on screen.
As the film goes on we also learn more about Rebecca’ s personality. We begin to see why the various main characters loved or hated her. We also learn that while she may have beautiful on the outside, on the inside she was anything but, and she also did a great deal of damage to people.
Rebecca is always present in some way. Screenshot by me.
The second Mrs. De Winter is shown constantly comparing herself to Rebecca. She fears that she can never become the type of woman that Rebecca was, a woman who is beautiful, accomplished, fearless, confident and strong. She is intimidated by Rebecca and by the beautiful, large and well run home which Rebecca organised and arranged.
The second wife isn’t alone in being unable to escape Rebecca. Other people who knew her cannot escape her either. Maxim is unable to stop experiencing his mixed feelings for Rebecca(he both loathed and loved her)and he is also haunted by what happened in her final moments of life. Maxim has become a tortured soul desperately seeking peace and salvation(which he finds in the form of his new wife).
Mrs. Danvers is devastated by the loss of Rebecca, and she is haunted by the memory of this young woman who was so full of life and whom Mrs. Danvers loved, adored and doted upon. Jack Favell is haunted by the memory of the passionate and vibrant Rebecca; a woman who shared his temperament and tastes, and with whom he had a long running love affair.
Maxim and his new wife talk about Rebecca. Screenshot by me.
Rebecca may well be dead, but she lives on in the memories of all who knew her. The memory of her reaches out from beyond the grave to crush the happiness of those left alive. The living may find some amount of happiness, but try as they might, they can never truly escape the memory of this woman,they also cannot forget the things she said and did while she lived.
We don’t need to see a photo or portrait of Rebecca to be able to form a picture of her in our minds as we watch the film. We know she was beautiful, we know she was a woman who commanded and received constant attention and admiration by all who knew her, and we know that she was a teasing and manipulative woman too. When I read the book or watch the film, I always picture Rebecca as looking like a cross between the actresses Vivien Leigh and Margaret Lockwood.
Interestingly Vivien Leigh desperately wanted to play the second Mrs. de Winter in this film, alongside her husband Laurence Olivier as Maxim. Vivien even made a screentest for the part. I have to say that having seen the screentest I’m afraid that she is all wrong for the character. Vivien displays none of the shyness, the fragility, or the naive quality that the second Mrs. de Winter needed to have about her. I think that Joan Fontaine was undoubtedly the right woman for this particular role. Had they gone down the flashback route with the film, then I think Vivien would have been perfect for the role of Rebecca.
A rare happy moment for the couple.Screenshot by me.
The film begins in Monte Carlo. The brooding, middle aged, wealthy widower, Maxim De Winter (Laurence Olivier)is about to commit suicide by jumping off a cliff. Maxim is stopped from jumping by a young woman(Joan Fontaine, playing a character who is never named in the book or film)who sees him and is concerned about what he is about to do. He later discovers that she is staying at the same hotel that he is. He finds that she is working as a paid companion to the odious Mrs. Van Hopper (a scene stealing Florence Bates). Maxim and this young woman gradually begin to befriend one another and fall in love.
She loves him because he is kind to her and genuinely takes an interest in her, and because he allows her an escape from her current life and social station. He loves her because she is pure, fresh, kind and innocent; with those personality traits she is the polar opposite of his dead first wife, a woman who haunts his memories.
The couple arrive home to be greeted by all the staff. Screenshot by me.
They marry and return to England, to stay in Maxim’s family estate of Manderley. Once in her new home, the second Mrs. De Winter must try and fit in with her husband’s upper class lifestyle, and also try and compete with the lingering memory of his dead first wife, Rebecca. The first Mrs.De Winter drowned in the sea, but there is actually much more to her death than we first believe.
Rebecca’s monogrammed stationery. Screenshot by me.
Traces of Rebecca linger in every part of the house. Rebecca’s bedroom is kept exactly as it was when she lived. Her clothes are still hanging in the wardrobe, the furnishings, menus and the flower arrangements in the house are all still hers.
The study is still filled with her monogrammed stationery and address books. Staff and friends also talk about Rebecca quite often, and their words remind the second Mrs. de Winter of the great differences between herself and Rebecca.
Rebecca’s monogrammed pillowcase. Screenshot by me.
The housekeeper of Manderley is Mrs. Danvers (Judith Anderson) and she is a sinister, creepy and highly manipulative woman who is obsessed with Rebecca, and she feels very threatened by the presence of the new Mrs. de Winter.
The young woman is scared of the housekeeper and she also becomes more and more nervous as her worries and feelings of inadequacy grow. She keeps comparing herself to Rebecca and she starts to think she is no good for Maxim. At one point Mrs. Danvers even tries to take advantage of the young woman’s fragile state of mind by attempting to persuade her to commit suicide.
Jack drops by and causes trouble. Screenshot by me.
A visit to Manderley by the suave and smarmy Jack Favell(George Sanders), who was Rebecca’s cousin and lover, makes it very clear to us that Rebecca had some major secrets. These secrets piques the interest of the second Mrs. de Winter. As the film goes on, hearts get broken, dark secrets are revealed, and nothing will ever be the same again.
Joan Fontaine is superb as the fragile and tragic young woman trying so hard to stay strong, but who feels her control of her life slipping away. I love how she also manages to convincingly convey the massive change that her character goes through, as she gradually transitions from the shy and fragile innocent and becomes a much stronger and dominant woman standing up to Mrs. Danvers and to the memory of Rebecca. The moment where she finally asserts her authority and makes a stand against the memory of Rebecca is unforgettable.
Joan really makes you feel for this woman and she is totally convincing as a woman on the verge of a breakdown. Joan was Oscar nominated for her work here but she lost out to Ginger Rogers for Kitty Foyle.
Joan Fontaine. Screenshot by me.
Joan would take home the award the following year for her performance in another Hitchcock film, Suspicion; in that film Joan plays a similar character to Mrs. de Winter with both characters being in great emotional distress, both of them are also fragile and consumed by fear and worry. Rebecca would go on to become the only Hitchcock film to win the director a Best Picture Oscar.
Laurence Olivier. Screenshot by me.
Laurence Olivier is excellent as the tormented Maxim. He convincingly conveys this man’s changing nature, being relaxed and happy with his new bride one moment, and becoming short tempered, distant and sad when he is made to think of Rebecca.
I quite like Laurence and I think that he is a good actor, but he’s never been a favourite of mine. I have also never understood all the hype surrounding his acting skills. I think he is very good in this role though and he subtly conveys so much to us with his eyes and expressions.
Judith Anderson. Screenshot by me.
Judith Anderson steals every scene she is in as Mrs. Danvers. Watch her eyes and her body language, she says so much without uttering dialogue. This is one of her best performances for sure. Her performance here should be used in an acting masterclass about how to steal a scene with through subtle performance.
I like how Mrs. Danvers is such a complex villain. She may well be scary and cruel, but she was made that way after becoming unhinged by the grief of losing Rebecca. Grief can do strange things to people, and it has really damaged this woman.
George Sanders also steals all the scenes he is in. He also provides a tiny bit of comic relief as the sarcastic and interfering Jack Favell. This was the first film that I ever saw George in and I became an instant fan of his. He plays Jack as a man for whom words are weapons. He has great fun in the role and gets to deliver some brilliant lines.
The film is shot in black and white and this really adds to the gothic atmosphere. The cinematography by George Barnes is beautiful and memorable. I especially love the cinematography in the scene where we see Rebecca’s bedroom for the first time, and also the scene where Mrs. Danvers tries to make Mrs. de Winter jump to her death.
Exploring Rebecca’s beautiful bedroom. Screenshot by me.
The film also features some stunning lighting and some interesting camera movement. There are scenes where the camera pulls back from Joan Fontaine and I think that was done to make it seem like Rebecca is in the same room with her, watching her, moving around her and sharing her space. Joan Fontaine is also filmed in a way that makes her appear small in comparison to her surroundings and other characters.
I also love the score by Franz Waxman. I think that the score captures the romance, the dread, the mystery and the eerie aspects of the story perfectly.
If there is one thing about both the novel and the film that really annoys me, it is that the second wife is never named. I get why this was done (to make her seem insignificant in comparison to Rebecca), but I really think that could have still been achieved if the character had been given a name.
My favourite scenes are the following. Maxim and the second Mrs. de Winter meeting for the first time on the clifftop. The “I am Mrs. de Winter now!”scene. Maxim’s marriage proposal. The scene where the second Mrs. de Winter goes downstairs wearing the same dress that Rebecca once wore. The scene where Maxim and the second Mrs. de Winter watch their honeymoon video. Chasing Jasper on the beach and finding the cottage. The confession scene. Exploring Rebecca’s bedroom. Jack trying to blackmail Maxim in the car.
Hitchcock sets up a scene between Joan Fontaine and Laurence Olivier. Image source IMDb.
It has often been noted that the story of Rebecca bears many similarities to Jane Eyre. I think this is true. Maxim and his second wife are so similar to Jane Eyre and Rochester. Maxim is desperate to escape a hellish past and find peace and happiness with a pure and decent woman (just as Rochester is). The second Mrs de Winter is quiet and shy, and she has been bullied and used by many people, in Maxim she finds someone who loves her and will be kind to her (just like Jane). Both the second Mrs de Winter and Jane also become very strong and determined women as their stories go on. It’s fun to study the film and spot the similarities and to compare characters and situations.
This is one of my favourite Hitchcock films. It is also a film that I never get tired of watching. If you enjoyed this film and the book, then I would also recommend an excellent miniseries adaptation of Rebecca. The series is from 1979, and it stars the great Jeremy Brett as Maxim and Joanna David as the second wife. The series is very close to the book and is allowed more time to develop the characters. I also quite like the 1997 miniseries starring Charles Dance as Maxim.
What are your thoughts on this Hitchcock film?