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>
When de Winter is showing the honeymoon film, he tells Mrs. de Winter "this is where I set the camera up on the tripod". However, the image they're watching zooms in (this is before the cinematographic image zooms in on the entire film-viewing scene in the movie, itself). Since the camera was on a tripod, it wouldn't have been able to zoom by itself since de Winter was posing with his wife at the time, not adjusting the camera. 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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