A young newlywed arrives at her husband's imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives on in the house long after her death.


Ben Wheatley


Jane Goldman (screenplay by), Joe Shrapnel (screenplay by) | 2 more credits »
495 ( 175)
Nominated for 1 BAFTA Film Award. Another 1 win & 2 nominations. See more awards »





Cast overview, first billed only:
Lily James ... Mrs. de Winter
Jacques Bouanich Jacques Bouanich ... Taxi Driver
Marie Collins Marie Collins ... Guest with Dog
Ann Dowd ... Mrs. Van Hopper
Kristin Scott Thomas ... Mrs. Danvers
Armie Hammer ... Maxim de Winter
Jean Dell Jean Dell ... Restaurant Maitre D'
Sophie Payan Sophie Payan ... Restaurant Guest
Pippa Winslow ... Mrs. Jean Cabot
Lucy Russell ... Mrs. Clementine Whitney
Bruno Paviot ... Terrace Maitre D'
Stefo Linard Stefo Linard ... Terrace Waiter
Tom Hudson ... Hotel Bellhop
Jeff Rawle ... Frith
Ashleigh Reynolds ... Robert


After a whirlwind romance in Monte Carlo with handsome widower Maxim de Winter (Armie Hammer), a newly married young woman (Lily James) arrives at Manderley, her new husband's imposing family estate on a windswept English coast. Naive and inexperienced, she begins to settle into the trappings of her new life, but finds herself battling the shadow of Maxim's first wife, the elegant and urbane Rebecca, whose haunting legacy is kept alive by Manderley's sinister housekeeper Mrs. Danvers (Kristin Scott Thomas). Written by Netflix

Plot Summary | Add Synopsis

Motion Picture Rating (MPAA)

Rated PG-13 for some sexual content, partial nudity, thematic elements and smoking | See all certifications »

Parents Guide:

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Did You Know?


Nikolaj Arcel was attached to direct this movie from a Stephen King script. See more »


[first lines]
Mrs. de Winter: [narrating] Last night I dreamt I went to Manderley again. I dreamt that where our drive once lay, a dark and tortured jungle grew. Nature had come into her own and yet the house still stood. Manderley. Secretive and silent as it had always been. Risen from the dead. Like all dreamers, I was allowed to pass through my memory. Spanning the years like a bridge. Back to that summer in Monte Carlo when I knew nothing and had no prospects.
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Remake of Rebecca (1940) See more »


Big Boy Blues
Written by Frank 'Big Boy' Goudie
Performed by Bill Coleman & His Orchestra
Courtesy of RCA Records, a Division of Sony Music Entertainment
Licensed by Sony Music Entertainment UK Ltd
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User Reviews

Gothic Goes Glamorous
22 October 2020 | by annlevtexSee all my reviews

I won't complain about the lovely costumes and scenery, the gawkable high-end interiors or the attractive cast. Lily James' costumes are to die for, even the demure little blouses and tweed skirts she wears when she returns to Manderly with her dashing husband Maxim. If anything, the actors are TOO pretty, especially Armie Hammer. Yes, James' bobbed blonde hair is glaringly fake against her brown eyes and crisp dark eyebrows (seriously, WHY do they always make her a blond?), but at least the style is period appropriate and highlights her sensible wardrobe and English Rose prettiness. But Hammer's towering, hunky frame, chiseled face and big baby blues make him look more like a GQ model in a Ralph Lauren ad than a 1930s English Posho. His accent is passable, as is his acting. He and James both give perfectly good, if not masterful, performances. They have chemistry and I rooted for their marriage to make it. They make a nice couple. The problem is, they're in the wrong movie.

"Rebecca" is supposed to be a Gothic thriller, not a romantic adventure. Which is not to say it can't have a love story embedded in it. "Jane Eyre" is a love story, but Rochester is a genuinely dark character, and real danger looms (literally) above the heroine's head. Here, the second Mrs. De Winter allows herself to be cowed by Kristen Scott Thomas's (excellent) Mrs. Danvers, who, while disdainful, icy and manipulative, does not seem mentally unhinged enough to be truly terrifying. Even the house itself is just a large, old manor house full of portraits and servants standing at attention....remarkable to a young woman from a humbler background, but not to anyone who has watched other English period pieces. James' character is a fish out of water. Intimidated by her surroundings, especially the wing/rooms that belonged to her predecessor, yes. Unnerved by her husband's uncommunicative moodiness and sleepwalking, yes. But haunted? Driven to near madness? I'm not convinced.

The sinister sexual undercurrents of Hitchcock's version are also missing. They really only rear their heads when the talk and action turn to horses (sorry!). It seems that whereas Mrs. DW2 doesn't even know how to ride., the aristocrat Rebecca, as Mrs. D tells her in racy detail, could break any stallion. Ahem. So when Rebecca's dissolute Toff of a cousin (Sam Riley, very good) shows up and sweeps the young bride up onto a horse in front of him for an impromptu lesson, squeezing her thigh and tossing off comments like "just move with me" and "you'll be sore tonight" with (almost) comic creepiness, I was kind of delighted at the diversion. She almost seems more scared here than at any other time, and I don't blame her. Honestly, I think Riley would have been better cast as Maxim. Hammer's version is just too darned wholesome.

And speaking of shifts! (Again, sorry). About 3/4 of the way through the movie, there is a massive Info Dump and the train suddenly switches tracks, lurches off in another direction entirely and goes in and out of a few shadowy tunnels before almost unceremoniously dumping the viewer out at its destination, where I at least was left blinking in the sun. Twists and turns in a mystery are a good thing, and of course the end is supposed to be a surprise. But here, the characters turn on a dime. All at once she, at least, is almost a different person, their relationship transformed. She puts on a (gorgeous) tweed suit and does a whole Nancy-Drew-Goes-Noir bit for about five minutes, revelations come fast and furious, and......here we are! Wait, what? Where? The end, tacked on from the original, is satisfying in a way, but also random.

The movie is engaging and beautiful. No one embarrasses himself or herself. If you like the book, like period pieces and mysteries and lovely things, then watch it. But don't expect to be on the edge of your seat. This isn't one for the ages.

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Release Date:

21 October 2020 (USA) See more »

Also Known As:

Rebecca See more »

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Aspect Ratio:

2.39 : 1
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