A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
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. Written by
Col Needham <firstname.lastname@example.org>
Alfred Hitchcock chose very carefully the right lettering for the right characters, if we have to watch a handwriting analysis of the several letters shown in the movie: -Mrs. Van Hooper is authoritative (large T bars), sexually stimulated (thick Y and F loops), obsessive (loopholes in E and N), unwilling to being commanded (Independence loophole in P), and rude (thick tracks in general). -Maxim is very reflexive (large inter-word spacing), reserved (large inter-line spacing) and self-underrated (T bars very low). -Favell is self-overrated, brutal and impulsive (big R, Brutality loophole, short inter-word spacing). (According to the Marchesan Handwriting Analysis Method). See more »
The large map on the courtroom wall is a map of the Americas. It is grossly implausible that such a map would be on the wall of an English courtroom. See more »
The original 1940 credits read "Selznick International presents its picturization of Daphne Du Maurier's 'Rebecca'". The credits on the re-issue version read "The Selznick Studio presents its production of Daphne Du Maurier's 'Rebecca'". See more »
The only Alfred Hitchcock (Oscar-nominated for directing) film to win the Best Picture Oscar, "Rebecca" is one of those typical films from the amazing director that chills, entertains and puts you on the edge of your seat each time you watch it. Joan Fontaine (Oscar-nominated) has just married the very wealthy Laurence Olivier (also Oscar-nominated), but she is haunted by his mysterious housekeeper (a show-stopping Oscar-nominated performance by Judith Anderson) and the memory of the film's titled character (Olivier's late wife). Hitchcock, noted for his subtle sexual under-tones in films spares none of that here as Anderson's character and the late titled character's relationship seemed to go much further than employee-employer. Anderson slowly tries to drive Fontaine to insanity and the end she may accomplish her devious goal. Hitchcock's first real major U.S. debut stunned the Academy and audiences alike and would lead to the coveted Best Picture Oscar. It is not the best film the legendary director ever worked on, but it is still an amazingly good production that works on many cinematic levels. 4.5 out of 5 stars.
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