January 27, 2015
Someone who starts in Hollywood with such awesome suspense like this certainly is announcing a promising career.
|Jose Luis M.||
January 18, 2015
La obra maestra de Hitchcock todo en esta pelicula es perfecto.
October 22, 2012
Then under a tight leash from David O Selznick, a young(ish) Alfred Hitchcock reluctantly made his most cinematic film to date. Sure it's all a little melodramatic from the master of the suspense, but his first Hollywood movie is also his most cohesive. It's clear to the see Hitchcock was coming into in own here as his fluid and purposeful camera movements bring Daphne Du Maurier's novel to brilliance in the silver-screen, assisted by an alluring Joan Fontaine and her ever moving eyebrows, Laurence Olivier in a stellar portrayal of self-torment, and a demonic performance from Judith Anderson. With its disquieting atmosphere, haunting Gothic tones, a Best Picture Oscar, and (surprise, surprise) an unlimited supply of suspense, Hitchcock's criminally under-viewed mystery/thriller remains both a view of of a artisan mastering his craft, and... one of the best films ever.
December 29, 2014
Brilliantly directed by Hitchcock, this adaptation of Daphne du Maurier novel will keep you on the edge-of-your-seat from the very start to the very end.
December 20, 2014
A great Hitchcock film that won an academy award for best picture. Laurence Olivier is great as a troubled, sophisticated Maxim and Joan Fontaine is simply delightful.
November 29, 2014
I've never seen a mystery/thriller where the big mystery is want exactly IS the mystery. Great direction with Laurence Olivier showing how well he can naturally keep the audience guessing.
November 18, 2014
Amazing movie, just read the book and some things were changed like the ending.
November 17, 2014
An intimidating beast of a movie; beautiful, tense, and downright scary.
August 18, 2011
Alfred Hitchcock's first American film, "Rebecca" is a gothic, shadowy melodrama that serves as a precursor to the stylish and crowd pleasing films he'd later make. Though long at 140 minutes, the film packs in an overwhelming sense of enigma and a plethora of refined performances. Hitchcock may be more fun when he's at his most light-hearted, but "Rebecca" has enough inner demons to stir our emotions.
The leading heroine is never named and possibly rightly so - she is beautiful, but also meek and vulnerable. She is played by Joan Fontaine, who was only 23 at the time and manages to carry a believable virginal innocence on her back. Throughout the film, we only know her as the second Mrs. De Winter; her husband, Maxim (Laurence Olivier) is dashing and aristocratic, yet he seems to hold an uncontrollable fascination with his deceased ex-wife, Rebecca.
Maxim resides at Manderley, a foreboding estate whose walls bear twisted secrets. It's unwelcoming to the eye, and it's even more so towards Mrs. De Winter. The staff harbors an adoration for Rebecca, and they cannot seem to greet Maxim's new wife with any warmth. One such person is Mrs. Danvers (Judith Anderson), an icy and brittle maid who has an unhealthy obsession with the first Mrs. De Winter. But it seems that the latter's death was not merely an accident, but one of danger; and someone in Manderley had something to do with it.
"Rebecca" explores the idea of adulthood in a sickening and terrifying way. Most are aware of the pitfalls that will overcome them by the time they hit their late-teens, but Fontaine's Mrs. De Winter is like an unusually shy child. The world is a difficult place to live, and she finds that out with a shocking amount of cruelty. As she explores Manderley, which is nearly cavernous in its awesome size, she is met with hate at every corner. We don't know much about Rebecca (at first), but what we do know is that everyone prefers her to Maxim's second wife, a nightmare of realistic possibility.
For the second Mrs. De Winter, married life is hell. What begins as a quick and picturesque romance turns into something grotesque, as anything she says or does is held in comparison. When people pass her, they look her up and down with disdain. When they speak to her, they're cold and calculating.
Fontaine is excellent. Her waif-like posture only brings out her innocence, and her unstated actions only show how self-conscious she is, especially in the eyes of the unforgiving Manderley. Olivier is alluring, but adds thick texture to his performance by taking off layers of Maxim's thin skin. The real star of "Rebecca", however, is Anderson, and it's clear that Hitchcock is just as fascinated with her as we are. Her obsession with Rebecca is so potent that it suggests lesbianism, an idea of scandal in 1940. Anderson never changes the expression on her face, making her even more terrifying as it seems that she is incapable of showing true emotion.
"Rebecca" has three temperaments: the first is one of whirlwind romance; the second is cruel melodrama; the third is a mystery thriller with twists of grand means. The film is long and sometimes feels like two films placed into one. It can't seem to decide if it wants to be passionate like "Jane Eyre", and it doesn't know if it wants to be a straight up suspense film.
But what "Rebecca" lacks in a steady story is made up for in style, as Hitchcock is an incomparable visual poet. He understands every single quirk the camera is capable of. During the second Mrs. De Winter's arrival, the reflection of the rain pattering on the windows bounce onto the walls; at every corner, we can see the water slipping on the sides of every room. It brings out the claustrophobia the leading heroine feels the second she is introduced to her new home. During the climactic masquerade ball, in which Maxim's wife accidentally wears the costume Rebecca wore the previous year, Manderley is surrounded by a thick fog that mirrors the latter's lingering memory. Hitchcock's camera cues are subtle, but the atmospheric tension is one of the most important components of the film.
"Rebecca" is a forest of gothic romance, and it remains to be one of Hitchcock's most stunningly visual films. It doesn't have the fun of his 1950s excursions, but it shows his patience and power as a filmmaker.
October 21, 2014
The original Gone Girl. And yeah, it's ok. Atmospheric lensing and great set/stage work help a lot. Not much of a mystery, and while I guess its a psychological thriller, its not particularly thrilling. But the "psychological" stuff works pretty well, specifically the way folk that aren't even around anymore can cast a massive shadow over our lives. Rebecca (the character) looms large over Rebecca (the film), so credit to Hitch and the cast. Sanders is slimy and awesome. Fontaine is so natural and stupid you are confused as to whether that is good acting, or simply good casting. Judith Anderson as Mrs Danvers makes such a great, creepy villian you are left wishing there had been more of her. But to the film's credit, the more potent villain is one for whom we never see the face.
October 20, 2014
"Rebecca" is a guidebook to the power of suggestion. As the story progresses, Alfred Hitchcock paints a vivid portrait of Rebecca, the titular character who we never even see. She is absent from the film due to her death prior to the beginning of the story, but her presence is very real. We continually learn about Rebecca through her widower, Maxim de Winter, as he brings home a new wife and the memory of Rebecca creates an unwelcoming atmosphere. The film contains a twisted love triangle in a husband-loves-new wife-and-loves-dead ex-wife sort of way. One of the most fascinating things about this story is that we never learn the name of Maxim's new wife. She is the main character, and yet the audience knows Rebecca's name instead of the new Mrs. De Winter. Hitch enhances Rebecca's presence by de-emphasizing [anonymous]. As if this isn't clever enough, this film has a twist that really turns the entire film on its head. I can't place this film ahead of "Psycho," "Rear Window," "Vertigo," "Dial M For Murder," and many other Hitchcock classics, but is still a masterpiece. The first 45 minutes of the film move pretty slow but are necessary to the revelation of the twist. Since I can't spoil the twist (which is the best part of the film), I can't say nearly as much as I'd like to say about the film. Aside from the shock that you will experience, the chemistry between Joan Fontaine and Laurence Olivier carries the film, as well as Fontaine's increasingly fragile disposition. "Rebecca" was Hitchcock's only Oscar-winner for Best Picture Oscar-winner and, while it isn't his finest, it is a must-see.
October 20, 2014
The first of two films Alfred Hitchcock made for producer David O. Selznick contains qualities neither man's other films contain. A visual stylishness that Selznick's films lacked, and an emotional depth and nuance to the characters that few of Hitchcock's later films could equal.
October 18, 2014
There aren't many films that make you intrigued about a character that doesn't make a physical appearance.
October 12, 2014
The movie losses focus when it drifts away from its unnamed female character. Her point of view drives this gothic tale and it is fascinating what Hitchcock does to express her view of the world.
March 25, 2014
A young woman meets a rich older man, falls in love and marries him...but when she moves into his mansion with his staff (headed by the strong-willed and creepy Mrs. Danvers), she finds herself out of place and a little overwhelmed, especially by the shadow cast by the previous Lady of the House, the deceased Mrs. de Winter (the titular Rebecca)...and Mrs. Danvers wants to destroy her for replacing her beloved Rebecca. It is Alfred Hitchcock's first film in Hollywood, it is quite well made all around, with a solid plot and a great cast. Luckily for the Hitch, Selznick was too busy with his pet project of "Gone with the Wind" to spend too much time worrying about Hitchcock and "Rebecca". It is the only Hitchcock-directed film to win Best Picture, though the award went to Selznick and Hitch did not win Best Director.
May 21, 2012
While it is a little slow in the beginning, Rebecca has an engaging story, spooky atmosphere and great cast and characters, especially the character of creepy Mrs. Danvers. It greatly benefits from spectacular cinematography, imagery and some iconic moments and while it is not one of Hitchcock's very best and did not entirely deserve Best Picture, it is nonetheless a very good and memorable film from a ridiculously strong year for film.
September 22, 2012
La competencia con una muerta idealizada o:
Hitchcock haciendo una película romántica, de suspenso es genial haha <3.
March 11, 2010
(First and only viewing - 2/6/2011)
May 26, 2014
one of the greatest movies i have ever seen...a clever mix of romance, drama and suspens!..One of the finest productional efforts of the past year.!...
July 17, 2014
This is the kind of film you expect from the master of suspense Alfred Hitchcock. What seems like a boring romance film at first slowly develops into a maddening ghost tale of sorts and eventually into a crime drama. Everything is so well told and despite the limitations of the time (it looks like some bad green screen work a lot of the time for you modern viewers) works on multiple levels.
And the twists and turns the film takes are brilliant and should keep you guessing right until the end.
Highly recommended for all lovers of film and big mansions.