4 more reviews

1. ›"Rebecca", a magnificent new adaptation@ismaca823d

   [Image](https://www.filmaffinity.com/ve/filmimages.php?movie_id=187222)

    

   Let me share my thoughts on the magnificent new adaptation of "Rebecca" directed by Ben Wheatley for Netflix:

   From its moody opening frames, Wheatley transports us masterfully to the dreamlike shores of Manderley, conjuring all the gothic mystery and intrigue of Daphne du Maurier's classic novel.

   [Image](https://www.filmaffinity.com/ve/filmimages.php?movie_id=187222)

    

   Lily James and Armie Hammer are exquisitely cast, emanating delicate fragility amidst psychological shadows. Kristin Scott Thomas chews the scenery deliciously as the acid-tongued Mrs. Danvers.

   Production values sing under the stewardship of cinematographer Laurie Rose - each lavish set and costume feels lived in.

   Wheatley understands film is a visual medium firstly. His compositions simmer with ominous subtext worthy of Hitchcock at his best.

   [Image](https://www.filmaffinity.com/ve/filmimages.php?movie_id=187222)

    

   Yet for all the sumptuous dressings, it's the timely themes of female empowerment, jealousy and subjugation that resonate most profoundly.

   A towering achievement for Netflix and required viewing this autumn. Wheatley proves a masterful steward of this beloved story's essence.

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2. ›Film Review: Rebecca (1940)@drax1030d

   

   The Oscar is the best known, but also the most overrated of all awards in the world of cinema. Arguments for such a claim can be found in the filmography of Alfred Hitchcock. Despite being one of the greatest directors that ever lived, Hitchcock never received an Oscar for Best Director, and the 1940 psychological thriller Rebecca, the only one of his films to receive an Oscar for Best Picture, is not among the first that come to mind when someone mentions the Master of Suspense.

   The film is based on the 1938 bestselling novel by British author Daphne du Maurier. It begins with the narration of an unnamed protagonist (played by Joan Fontaine), who is introduced as a young woman from a modest family who, following the death of her father, makes ends meet by serving as a paid companion to the arrogant and tyrannical socialite Edythe Van Hooper (played by Florence Bates). While accompanying her employer in Monte Carlo, she meets the brooding but handsome British aristocrat Maxim de Winter (played by Laurence Olivier). The result is a whirlwind romance and quick marriage, after which Maxim takes his bride to the vast manor house of Manderley on the coast of Cornwall.

   She is at first happy to have a place of such wealth and glamour as her new home, but the staff likes to compare her to Rebecca, de Winter’s first wife who tragically died one year earlier. Mrs Danvers (played by Judith Anderson), the chief maid, is especially relentless in reminding de Winter’s new bride of her deceased predecessor, who was, by all accounts, more beautiful and popular than her. This begins to affect the psychological state of the new Mrs de Winter until circumstances conspire to reveal the terrible secret behind Rebecca’s death and the role Maxim might have had in it.

   The decision to award Rebecca wasn’t completely unjustified. It is a very well-made film. The only problem is that it isn’t a thriller in the pure “Hitchcockian” sense. It was Hitchcock’s Hollywood debut, put into production by David O. Selznick, one of the few independent producers of the era. As such, Hitchcock approached it more like a hired hand and less like the Grand Author of Cinema he would like to present himself as in the latter stages of his career. Instead, Rebecca looks more like a standard Gothic romance Hollywood used to make at the time. The source material leaves little room for Hitchcock to employ his formula, including the suspense. The closest Hitchcock comes to it is in the scene in the opening segment, when he plays with the viewer’s expectations over whether the romance between the protagonist and Maxim will end.

   Yet, despite not being Hitchcockian in its usual sense, it still displays great directing talent. Hitchcock confidently handles the plot, maintains a relatively quick tempo, and transitions between various segments with ease. The oppressive atmosphere of Manderley (a setting depicted partly in studios and partly through miniatures) is enhanced through the music soundtrack by Franz Waxman and the Oscar-awarded black-and-white cinematography by George Barnes. Hitchcock shows his inventiveness by never actually showing Mrs Danvers entering the room with the protagonist; instead, she simply appears out of nowhere, making her presence more intimidating and almost otherworldly. Hitchcock also refuses to show any picture of the title character, thus allowing viewers to create mental images of her in their heads.

   Another large contribution to the success of Rebecca was made by the cast. For Joan Fontaine, at the time known mostly as the younger sister of established star Olivia de Havilland (who would later become her famous rival), the role of the second Mrs de Winter was an opportunity to show that she could carry a film too. That opportunity was well-used. Fontaine plays the protagonist as a woman who is beautiful, young, and naive and suffers abuse, first by her employer and then by a near-demonic employee. Mrs de Winter is, however, a likeable character, and sympathy from the audience is secured when she evolves into a strong woman who ultimately finds a cause worth fighting for.

   Laurence Olivier, at the time one of the most popular British actors, shines in the role of a complicated protagonist, whose actions prove questionable and whose outbursts of bad temper lead to nearly catastrophic consequences. Olivier creates good chemistry with Fontaine, although the two actors didn’t get along well on the set (apparently because Olivier was resentful over Selznick not casting his famous romantic partner, Vivien Leigh, in Fontaine’s role). The supporting cast is also great, especially Australian actress Judith Anderson as the near-demonic and insane housekeeper, whose devotion to the late Rebecca was in later years often interpreted as motivated by lesbian love. George Sanders also leaves a good impression in the role of Rebecca’s cousin and lover, Jack Favell, despite appearing relatively late in the film.

   The segment featuring Favell, in which all plot elements are neatly explained and put together, looks a little bit too convenient for a Hitchcock film, but this has less to do with Hitchcock and more to do with du Maurier’s original novel. The actual apocalyptic finale, on the other hand, is the work of Hitchcock, and it looks a little bit over the top and not exactly cathartic.

   Despite those flaws and not being exactly Hitchcockian, Rebecca is one of Hitchcock’s finer works and represents a brilliant start to his Hollywood career. The novel itself was adapted a number of times, mostly for television, and in 2020 a new film version, starring Lily James, was produced by Netflix.

   RATING: 8/10 (+++)

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3. ›Rebecca: un fallimento su tutta la linea@serialfiller1895d

   

   Il 2020 è stato avarissimo di film all'altezza. Il covid ha ridotto all'osso le produzioni cinematografiche, decretando una decrescita impressionante nel umero di prodotti proposti. Cinema chiusi e location inutilizzabili sono state la causa di questo provvisorio declino. Meno film da vedere corrispondono, gioco forza, a meno film da ricordare e cosi capita che, visti quei 4-5 film di livello come Tenet, Mank, Soul e pochi altri, si finisca per guardare dei film considerati belli più per mancanza di alternative che per altro. E' il caso di Rebecca, film più o meno celebrato ma che vi sconsiglio fortemente di vedere. Storia d'amore pucciosissima e fintamente misteriosa, atmosfere plumbee nella seconda metà del film, colorate nella prima fase, un susseguirsi di forzature e di soluzioni semplicistiche. In Rebecca non c'è mai davvero un mistero da scoprire ne una rotta da seguire. La barca affonda ben presto dopo aver veleggiato con sicumera per la prima mezzora. Abbandonata la prima fase non c'è spazio per la tolleranza di un polpettone massacrante e da massacrare che non si salva mai e per nessuna ragione al mondo. Non è nemmeno un brutto film,è un film completamente inutile. Esistono bruttissimi film che falliscono nel tentativo di provare a fare qualcosa di diverso, di originale. Rebecca non ci prova neppure. Fallisce prima ancora di essere nato.

   ENG

   The year 2020 has been stingy with films. The covid has reduced film productions to the bone, decreeing an impressive decrease in the number of products offered. Closed cinemas and unusable locations have been the cause of this temporary decline. Fewer films to see correspond, by force, to fewer films to remember and so it happens that, having seen those 4-5 level films such as Tenet, Mank, Soul and a few others, you end up watching films considered beautiful more for lack of alternatives than for anything else. This is the case of Rebecca, a film more or less celebrated but that I strongly discourage you from seeing. A pucciosissima love story and fake mystery, leaden atmosphere in the second half of the film, colorful in the first phase, a succession of forced and simplistic solutions. In Rebecca there is never really a mystery to discover nor a course to follow. The boat soon sinks after having sailed with confidence for the first half hour. Abandoned the first phase there is no room for tolerance of a meatloaf massacring and to be massacred that is never saved and for no reason in the world. It's not even a bad movie,it's a completely useless movie. There are very bad movies that fail in their attempt to try to do something different, something original. Rebecca doesn't even try. It fails before it was even born.

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   ESP

   El año 2020 ha sido tacaño con las películas. El covid ha reducido las producciones cinematográficas al máximo, decretando una impresionante disminución del número de productos ofrecidos. Los cines cerrados y los locales inutilizables fueron la causa de este descenso temporal. A menos películas que ver corresponden, inevitablemente, menos películas que recordar y así ocurre que, tras haber visto esas 4 o 5 películas de alto nivel como Tenet, Mank, Soul y algunas otras, acabas viendo películas consideradas buenas más por falta de alternativas que por otra cosa. Es el caso de Rebeca, una película más o menos célebre pero que desaconsejo encarecidamente ver. Una pucciosísima y falsa historia de amor misteriosa, atmósferas plomizas en la segunda mitad de la película, coloreadas en la primera fase, una sucesión de soluciones forzadas y simplistas. En Rebeca nunca hay realmente un misterio que descubrir ni un rumbo que seguir. El barco pronto se hunde después de haber navegado con confianza durante la primera media hora. Una vez abandonada la primera fase no hay lugar para la tolerancia en un pastel de carne masacrado y alucinante que no se salva por ningún motivo. Ni siquiera es una mala película, es una película completamente inútil. Hay películas muy malas que fracasan en su intento de hacer algo diferente, algo original. Rebecca ni siquiera lo intenta. Fracasa incluso antes de nacer.

   

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   FR

   L'année 2020 a été avare en films. Le covid a réduit les productions cinématographiques à l'os, décrétant une baisse impressionnante du nombre de produits proposés. Les cinémas fermés et les emplacements inutilisables ont été la cause de ce déclin temporaire. Moins de films à voir correspond, inévitablement, à moins de films à retenir et il arrive donc que, après avoir vu ces 4-5 films de haut niveau comme Tenet, Mank, Soul et quelques autres, on finisse par regarder des films considérés comme bons plus par manque d'alternatives que pour autre chose. C'est le cas de Rebecca, un film plus ou moins célèbre mais que je vous déconseille fortement de voir. Une histoire d'amour pucciosissime et faussement mystérieuse, des atmosphères plombées dans la seconde moitié du film, colorées dans la première phase, une succession de forçages et de solutions simplistes. Dans Rebecca, il n'y a jamais vraiment de mystère à découvrir ni de parcours à suivre. Le bateau coule rapidement après avoir navigué avec confiance pendant la première demi-heure. Une fois la première phase abandonnée, il n'y a plus de place pour la tolérance dans un pain de viande massacrant et ébouriffant qui n'est jamais sauvé pour quelque raison que ce soit. Ce n'est même pas un mauvais film, c'est un film complètement inutile. Il existe de très mauvais films qui échouent dans leur tentative de faire quelque chose de différent, d'original. Rebecca n'essaie même pas. Il échoue avant même d'être né.

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4. ›REVIEW : "Rebecca" (1940) - Movie by Alfred Hitchcock@mandibil2325d

   

   I don't think it is a coincidence that Hitchcock chose to go to America at the outbreak of the Second World War. It was as good as certain that the homeland of Britain would not be a fruitful place for an ambitious and talented director to be during a conflict like that. He had apparently been offered deals from Hollywood on several occasions before he actually went, but given the time, an offer to "join" David O. Selznick in the states, adapting the Daphne Du Maurier novel Rebecca, made it possible for Hitchcock to stay ahead in the game after crossing the Atlantic to the "neutral" United States where the studio system was ripe for him.

   At the same time it is no big secret that Hitchcock only saw this as an entry ticket to manifest his name in America, not exactly because he liked Selznick. in fact he hated the man, who would interfere much more than he was used to in Britain and demand certain things to be included or abandoned after his own head. As a producer Selznick had a big word, but Hitchcock always visualised his movies in his head before shooting so the footage that eventually was created was more or less strictly fitted to the way he wanted to edit it.

   

   

   Rebecca, as far as I can recall, was my first encounter with a Hitchcock movie. I remember my mother mentioning that this legendary dark and mysterious movie was to be shown on the telly and how I was mesmerized by its visual style and gothic feel. I clearly remember the opening shots of the pathway to Manderley, the stormy ocean and the first meeting of De Winter and the girl in the windswept slopes overlooking the coast. It was probably the first time I had an idea of the power of visuals in cinema. This setup is in my opinion still one of the most haunting and evocative ones, as it uses mostly visuals to create a notion of grandiosity, longing, darkness and menace.

   The following expositional parts leading to the "shotgun" wedding of the couple, has a hard time keeping up with filmic genius on that level. But luckily, we do not delve too much on setting up their relationship as it is not needed and works well to underscore the swiftness of the whole affair. One thing I do notice is the obvious symbolism in De Winter "catching" the marriage in his hat as it is dropped out a window. It is both as frail as a leaf in the wind but it is also akin to an innocent orange catched in his turban, in a playful and slightly pretended childish manner. In fact, De Winter treats his newfound prize as a child, reprimanding her every so often, like he is a dominating father to her.

   

   

   When the marriage has been setup, we get to the part where they enter his estate Manderley for the first time. This is so important as it sets up the place as an important "actor" in the story. Because De Winters (Lawrence Olivier) former wife Rebecca died but her "spirit" still lives everywhere in it, it seems. It is a house of humongous proportions, like a cathedral or vault-like mausoleum, compared to what the young girl (Joan Fontaine) is used to. The servants are like Rebecca´s ghostly minions still mourning over their loss, not wanting new and fresh ideas of "living" inside there. The whole point of not naming the girl, but instead letting the dead woman Rebecca´s name come to the fore is to illuminate that the girl is actually of little importance in herself. It is the stories of the past all labelled as Rebecca that is haunting everyone. The girl is a placeholder for our own fear of how the past may interfere with our own life or the ones we think loves us.

   Here comes another important shot. The housekeeper enters the frame in such a menacing manner that it has almost become a stable of "haunted house" movies ever after (like Frau Blücher in Young Frankenstein for a comic version). Judith Anderson plays this role as the dark and menacing spinster housekeeper Mrs. Danvers in a genre defining manner. Ho-ly shit she is menacing. I don't know exactly what it is but Hitchcock had a unique ability to get the best out of these characters. We see the same basic character in other of his movies and there is just something about the way he zooms, the way the lighting falls, the close up distance and the angle and so on, that creates a unique, menacing feel with so little "additional" help that I am bound to say that no one has ever been able to really copy this. It is astounding to me and a shot like this introduction to Mrs. danvers is a milestone in cinematic history.

   

   

   Another important thing worth noting here is that the scene ends with the second Mrs. De Winter dropping her gloves and both her and Danvers bows down in synchronisation to pick them up. I have thought a lot about this little sequence, because I am pretty sure this is no coincidence. As they are opposed to each other in every other way in the story, the only thing that I can explain this with, is that it is a sexual gesture. Danvers is an old lesbian spinster who is attracted to the new gorgeous young lady, but still is devoted to her old "dominatrix" Rebecca. This is in no way overt, let me put that straight, but it is a genius directorial manipulation of your subconscious to possibly stir sexual "desires". These kinds of "hints" would have to be covered up so deeply back in those days and homosexuality in particular. (Another hint may be the gentle touches of the girls cheeks with Rebecca´s fur and the "see through" sexy stockings of hers, presented by Danvers. Clearly a reference to more than a "professional" relation with Rebecca).

   The second act deals mainly with the girl, the second Mrs. De Winter (she remains otherwise nameless) getting acquainted with the staff, the house, the things she is expected to do and trying to be a good wife to Mr. De Winter. He is quite distant in his manner and rarely sounds like he is genuinely interested in her. When he does it has an air of "I guess I have to play with her and say a few nice things so she will still feel loved and somewhat at home".

   

   

   But there are cracks in the love affair. When she does not behave as he thinks fit, he is seconds away from a fit of rage. He has a genuine problem with anger management and it serves as an indication that he is hiding something or that there are some past history of his relation with Rebecca and the place in itself, that reminds him of past deeds which is being suppressed. Mrs. Danvers creeps around the castle like a ghost, only appearing like out of nowhere in the room as experienced by Mrs. De Winter. This has been explicitly stated as a deliberate choice of Hitchcock in his talks with Truffaut, to make her horrifying and unpredictable. Danvers manipulates the girl constantly trying to set Mr. De Winter against her and when everything seems to have gone astray, convince her to end her life by jumping out of a window.

   Paradoxically, a ship is wrecking near the shore, at the exact moment that the girl might jump. And this relates to Rebecca as she apparently died from suicide going down with her boat (named something like "I Will get back"). The rescue mission reveals the boat that Rebecca went down with and a body is also found. But since her body was originally identified by Mr. De Winter and buried, who is it then that is lying in the boat that went down? Another point that is not explained in the movie (I don't know if it is in the novel), who is it that washed up on the shore back then that Maxim De Winter identified as his wife?

   

   

   Off course the suspicion falls on Mr. De Winter now and a traditional kind of whodunnit bit ensues before he is eventually cleared of all charges by the doctor that Rebecca visited the day before she apparently killed herself. This little "detective" story at the end does take the movie a bit out of its gothic horror mode and into an ever so slightly goofy detectives territory that I am not particularly fond of all considered. The whole feel of the movie is set up to visual, haunting and menacing storytelling, while this is expositional part to get things wrapped up, is a necessary part but too explanatory for the movie overall. It is not quite the "pure cinema" Hitchcock himself claimed to be going for and I find it a particular bad choice in this case.

   The saving grace is the burning of Manderley by the dark ghostly figure of Mrs. Danvers, who would rather "go down" with the "boat" Manderley and her Mistress, than let the "healed" De Winter couple live there in a joyful and jealousy free marriage.

   

   

   I used to find Olivier´s version of De Winter a bit to reserved and "absent minded" you could say. But as time has flown, I have warmed to it and at this point in time find it pretty much flawless. He is not the most emotionally "present" of actors. He feels a little stiff. But in this case, it suits the role perfectly as that is exactly how he needs to be. The whole point is that these two personalities are so far from each other in lifespan, experience, emotional state and understanding of what their love life should be. Olivier has to feel absent minded so that we keep wondering what it is that ails him and if it really is a streak of his nature or just a temporary darkness befallen him as an after result of his former wife's death. His patriarchal manners adds to her alienation. Leaving her emotionally "alone" with this housekeeper in a tomb of a house. It is exactly what Hitchcock should, and did, go for.

   Overall, this is a masterpiece in my opinion. There are little things here and there that could be improved I guess, but in total it has so much going for it, that it has to be considered a milestone in cinema. The overall best part of it is the feel of the movie that goes through most of it (save the detective story in the third act). The only other Hitchcock movie that does this in a similar manner would be Vertigo. Here I get the same sense of constant foreboding and horror, that just builds and builds and is only relieved until the last minutes. I just love movies that does that and add to that, we get one brilliant piece of cinematography after the other. Some shots here literally etches into you memory and stays there. Then there is the performance of Judith Anderson, which is so incredible as Danvers, that I can watch the movie just to enjoy how well she is created as a menacing, ghostly manifestation of pure evil. Lastly, and probably, for me, what takes it all home for a masterpiece, is the coming alive of the haunting house. The sheer scale and size, its halls and corridors, its secret rooms and oozing of old memories is so evocative - I cannot think of another movie that does this better.

   10/10

   

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