Rebecca (1940 film)
Theatrical release poster
|Directed by||Alfred Hitchcock|
|Produced by||David O. Selznick|
|Screenplay by||Robert E. Sherwood|
|Based on||Rebecca by|
Daphne du Maurier
|Music by||Franz Waxman|
|Edited by||W. Donn Hayes|
|Distributed by||United Artists|
|Box office||$6 million|
Rebecca is a 1940 American romantic psychological thriller film directed by Alfred Hitchcock. It was Hitchcock's first American project, and his first film under contract with producer David O. Selznick. The screenplay by Robert E. Sherwood and Joan Harrison, and adaptation by Philip MacDonald and Michael Hogan, were based on the 1938 novel of the same name by Daphne du Maurier. The film stars Laurence Olivier as the brooding, aristocratic widower Maxim de Winter and Joan Fontaine as the young woman who becomes his second wife, with Judith Anderson and George Sanders in supporting roles. The film won the 1940 Academy Award for Best Picture.
The film is a gothic tale shot in black-and-white. Maxim de Winter's first wife Rebecca, who died before the events of the film, is never seen. Her reputation and recollections of her, however, are a constant presence in the lives of Maxim, his new wife and the housekeeper Mrs. Danvers.
Rebecca won two Academy Awards, Best Picture and Cinematography, out of a total 11 nominations. Olivier, Fontaine and Anderson also were Oscar-nominated for their respective roles as were Hitchcock and the screenwriters. Rebecca was the opening film at the 1st Berlin International Film Festival in 1951. In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
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An unnamed naïve young woman (Joan Fontaine) is in Monte Carlo working as a paid companion to Edythe Van Hopper (Florence Bates) when she meets the aristocratic widower Maximilian "Maxim" de Winter (Laurence Olivier). They fall in love, and within two weeks they are married. The young woman is now the second "Mrs. de Winter."
Maxim takes his new bride back to Manderley, his large country house in Cornwall. The housekeeper Mrs. Danvers (Judith Anderson) is domineering and cold, and is obsessed with the beauty, intelligence and sophistication of Maxim's dead wife Rebecca, the first Mrs. de Winter, preserving her former bedroom, the master suite, as a shrine. Although dead, Rebecca's presence is pervasive: Several things throughout the house—stationery, handkerchiefs, bed linens, even the master bedroom door—bear her ornate "R" or "R de W" monogram. As her closest confidante, Mrs. Danvers regularly comments on Rebecca's exceptional grace and style. When asked what Rebecca was like, Frank Crawley (Reginald Denny), Maxim's best friend and manager of the estate, absent-mindedly tells the new Mrs. de Winter that Rebecca was an exceptional beauty.
The new Mrs. de Winter is intimidated by her responsibilities and begins to doubt her relationship with her husband. The continuous reminders of Rebecca overwhelm her; she believes that Maxim is still deeply in love with his first wife. She also discovers that her husband sometimes becomes very angry at her for apparently insignificant actions. She also meets Rebecca's so-called "favorite cousin", Jack Favell (George Sanders), who visits the house while Maxim is away.
Trying to be the perfect wife, the young Mrs. de Winter convinces Maxim to hold a costume party, as he had done with Rebecca. She wants to plan her own costume, but Mrs. Danvers suggests she copy the beautiful outfit in the portrait of Lady Caroline de Winter, an ancestor of Maxim. At the party, when the costume is revealed, Maxim is appalled; Rebecca wore the same outfit at the ball a year ago, shortly before her death.
Mrs. de Winter confronts Danvers, who tells her she can never take Rebecca's place, and almost manages to convince her to jump to her death. An airborne flare reveals that a ship has hit the rocks. Mrs. de Winter rushes outside, where she hears that, during the rescue, a sunken boat has been found with Rebecca's body in it.
Maxim admits to his new wife that he had earlier misidentified another body as Rebecca in order to conceal the truth. His first marriage, until now viewed by the world as ideal, was in fact a sham. At the very beginning of their marriage, Rebecca had told Maxim she intended to continue the scandalous life she had previously lived. He hated her for this, but they agreed to an arrangement: In public, she would pretend to be the perfect wife and hostess, and he would ignore Rebecca's private, wanton lifestyle. However, Rebecca grew careless, including an ongoing affair with Jack Favell. One night, Rebecca told Maxim she was pregnant with a child that was not his. Laughing at Maxim's dismay, Rebecca proclaimed that the child, presumed to be a boy and legally Maxim's son, would thus inherit his beloved estate Manderley. During the ensuing heated argument she fell, hit her head and died. Maxim took the body out in her boat, which he then scuttled.
Now assured of her husband's love for her and not his first wife, the second Mrs. de Winter sheds the remnants of her girlish innocence. She begins to coach her husband how to conceal the mode of Rebecca's death from the authorities. In the police investigation, deliberate damage to the boat points to suicide. However, Favell shows Maxim a note from Rebecca, which appears to prove that she was not suicidal; Favell tries to blackmail Maxim. Maxim tells the police, and then falls under suspicion of murder. The investigation reveals Rebecca's secret visit to a London doctor, Dr Baker (Leo G. Carroll), which Favell assumes was due to her illicit pregnancy. But the police interview with the doctor establishes that Rebecca was not actually pregnant; the doctor had told Rebecca that she was suffering from a late-stage cancer instead.
The coroner renders a finding of suicide. Only Frank Crawley, Maxim, and his wife know the full story: that Rebecca told Maxim she was pregnant with another man's child in order to try to goad him into killing her, an indirect means of suicide that also would have ensured her husband's ruination and possible execution.
As Maxim returns home from London to Manderley, he sees that the manor is on fire, set ablaze by the deranged Mrs. Danvers. The second Mrs. de Winter and the staff escape the blaze, but Danvers is killed when a ceiling collapses on her. Finally, a silk nightdress case on Rebecca's bed, with a beautifully embroidered "R"—Rebecca's proud emblem of ownership—is consumed by flames.
- Joan Fontaine as the second Mrs. de Winter
- Laurence Olivier as George Fortescue Maximilian "Maxim" de Winter, owner of Manderley
- Judith Anderson as Mrs. Danvers, housekeeper of Manderley
- George Sanders as Jack Favell, Rebecca's first cousin and lover
- Reginald Denny as Frank Crawley, Maxim's estate manager of Manderley and friend
- Gladys Cooper as Beatrice Lacy, Maxim's sister
- C. Aubrey Smith as Colonel Julyan
- Nigel Bruce as Major Giles Lacy, Beatrice's husband
- Florence Bates as Mrs. Edythe Van Hopper, employer of the second Mrs. de Winter
- Edward Fielding as Frith, oldest butler of Manderley
- Melville Cooper as Coroner at trial
- Leo G. Carroll as Dr. Baker, Rebecca's doctor
- Leonard Carey as Ben, the beach hermit at Manderley
- Lumsden Hare as Mr. Tabbs, boat builder
- Forrester Harvey as Chalcroft the innkeeper
- Philip Winter as Robert, a servant at Manderley
Hitchcock's cameo appearance, a signature feature of his films, takes place near the end; he is seen walking, back turned to the audience, outside a phone box just after Jack Favell completes a call.
At Selznick's insistence, the film faithfully adapts the plot of du Maurier's novel Rebecca. However, at least one plot detail was altered to comply with the Hollywood Production Code, which said that the murder of a spouse had to be punished. In the novel, Maxim shoots Rebecca, while in the film, he only thinks of killing her as she taunted him into believing that she was pregnant with another man's child, and her subsequent death is accidental. However, Rebecca was not pregnant but had incurable cancer and had a motive to commit suicide, that of punishing Maxim from beyond the grave. Therefore, her death is declared a suicide, not murder.
Hitchcock later said that Selznick wanted the smoke from the burning Manderley to spell out a huge "R", which Hitchcock thought lacked subtlety. While Selznick was preoccupied by Gone with the Wind (1939), Hitchcock was able to replace the smoky "R" with the burning of a monogrammed négligée case lying atop a bed pillow. Hitchcock edited the film "in camera" (shooting only what he wanted to see in the final film) to restrict the producer's power to re-edit the picture. But Selznick relished the post-production process; he personally edited the footage, laid in Franz Waxman's score, and supervised retakes and extensive re-recording of the dialogue of Sanders, Bates and Fontaine. Rewrites and reshooting were called for after a rough cut was previewed on December 26, 1939.
Although Selznick insisted that the film be faithful to the novel, Hitchcock did make some other changes, though not as many as he had made in a previously rejected screenplay, in which he altered virtually the entire story. In the novel, Mrs. Danvers is something of a jealous mother figure, and her past is mentioned in the book. But in the film, Mrs. Danvers is a much younger character (Judith Anderson would have been about 42 at the time of shooting), and her past is not revealed at all. The only thing we know about her is that she came to Manderley when Rebecca was a bride.
The Breen Office, Hollywood's censorship board, specifically prohibited any outright hint of a lesbian infatuation or relationship between Mrs. Danvers and Rebecca,:70 though the film clearly does dwell on Danvers' obsessive memories of her late mistress.
The Hollywood Reporter reported in 1944 that Edwina Levin MacDonald sued Selznick, Daphne du Maurier, United Artists and Doubleday for plagiarism. MacDonald claimed that the film Rebecca was stolen from her novel Blind Windows, and sought an undisclosed amount of accounting and damages. The complaint was dismissed on January 14, 1948 and the judgment can be read online.
Frank S. Nugent of The New York Times called it "an altogether brilliant film, haunting, suspenseful, handsome and handsomely played." Variety called it "an artistic success" but warned it was "too tragic and deeply psychological to hit the fancy of wide audience appeal." Film Daily wrote: "Here is a picture that has the mark of quality in every department - production, direction, acting, writing and photography - and should have special appeal to femme fans. It creates a new star in Joan Fontaine, who does fine work in a difficult role, while Laurence Olivier is splendid." Harrison's Reports declared: "A powerful psychological drama for adults. David O. Selznick has given it a superb production, and Alfred Hitchcock has again displayed his directorial skill in building up situations that thrill and hold the spectator in tense suspense." John Mosher of The New Yorker wrote that Hitchcock "labored hard to capture every tragic or ominous nuance, and presents a romance which is, I think, even more stirring than the novel."
The film currently holds a 100% approval rating on Rotten Tomatoes.
Rebecca won the Film Daily year-end poll of 546 critics nationwide naming the best films of 1940.
The film earned $2 million in the US and $1 million in Britain on its initial release. It was re-released in Britain in 1945 and made $460,000.
Awards and honors
Rebecca won two Academy Awards and was nominated for nine more: It is the only film since 1936 (when awards for actors in supporting roles were first introduced) that, despite winning Best Picture, received no Academy Award for acting, directing or writing.
|Academy Awards||Best Picture||Selznick International Pictures and David O. Selznick||Won|
|Best Cinematography, Black and White||George Barnes||Won|
|Best Director||Alfred Hitchcock||Nominated|
|Best Adapted Screenplay||Robert E. Sherwood and Joan Harrison||Nominated|
|Best Actor||Laurence Olivier||Nominated|
|Best Actress||Joan Fontaine||Nominated|
|Best Supporting Actress||Judith Anderson||Nominated|
|Best Film Editing||Hal C. Kern||Nominated|
|Best Music, Original Score||Franz Waxman||Nominated|
|Best Art Direction, Black and White||Lyle R. Wheeler||Nominated|
|Best Special Effects||Jack Cosgrove and Arthur Johns||Nominated|
- AFI's 100 Years...100 Thrills – #80
- AFI's 100 Years...100 Heroes and Villains – Mrs. Danvers, #31 Villain
The Hollywood screen version of Rebecca was adapted for radio on numerous occasions. The Screen Guild Theater presented half-hour adaptions with Joan Fontaine, her husband at the time, Brian Aherne, and Agnes Moorehead (May 31, 1943), and with Loretta Young, John Lund and Agnes Moorehead (November 18, 1948). Joan Fontaine and Joseph Cotten performed a half-hour adaptation October 1, 1946, on The Cresta Blanca Hollywood Players. The Lux Radio Theatre presented hour-long adaptations with Ronald Colman, Ida Lupino and Judith Anderson (February 3, 1941), and with Laurence Olivier, Vivien Leigh and Betty Blythe (November 6, 1950).
On television, Rebecca was adapted for The Philco Television Playhouse (October 10, 1948), with Mary Anderson and Bramwell Fletcher; Robert Montgomery Presents (May 22, 1950), with Barbara Bel Geddes and Peter Cookson; and Broadway Television Theatre (September 1, 1952), with Patricia Breslin and Scott Forbes. Theatre '62 presented an NBC-TV adaptation starring James Mason as Maxim, Joan Hackett as the second Mrs. de Winter, and Nina Foch as Mrs. Danvers.
The movie was an inspiration for the Kollywood movie Puthiya Paravai starring Sivaji Ganesan. The film has been remade by Bollywood twice — as Kohra (1964), starring Waheeda Rehman and Biswajit Chatterjee; and as Anamika (2008), starring Dino Morea, Minissha Lamba and Koena Mitra.
In 2018, it was reported that Netflix would be creating a new remake of the film, which would be directed by Ben Wheatley, and written by Jane Goldman. Lily James and Armie Hammer are set to star.
In popular culture
- The film Rebecca was parodied on The Carol Burnett Show in a 1972 skit called "Rebecky".
- The film was used as the basis of a sketch on the BBC comedy sketch show That Mitchell and Webb Look. In the skit, the plot is changed, at the insistence of the producer, to a prequel, set while the first Mrs. de Winter is still alive and has just begun living with Maxim. The humour is derived from references to the then-unknown second Mrs. de Winter scattered throughout the mansion, such as a dress "reserved for the second Mrs. de Winter" and a painting of a woman with her face covered and the letters "TBA" written.
- A Sucessora
- List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
- Gothic film – Notable films
- Gothic romance film
- Box Office Information for Rebecca. The Numbers. Retrieved January 30, 2013.
- "1st Berlin International Film Festival". Berlin International Film Festival.
- Spoto, Donald (1999). The Dark Side of Genius: The Life of Alfred Hitchcock. Da Capo Press. pp. 213–214. ISBN 978-0-306-80932-3.
- Chandler, Charlotte (2005). It's Only a Movie: Alfred Hitchcock, A Personal Biography. New York: Simon & Schuster. p. 129.
- Leff, Leonard J. (1987). Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. New York: Weidenfeld & Nicolson. pp. 78–80. ISBN 1-55584-057-4.
- Leff, Leonard J. (1987). Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood. New York: Weidenfeld & Nicolson. ISBN 1-55584-057-4.
- The Hollywood Reporter, January 13, 1944
- The Fresno Bee Republican, January 17, 1948 – see e.g. here Archived September 1, 2013, at the Wayback Machine.
- "MacDONALD v. DU MAURIER". leagle.com. Retrieved April 19, 2016.
- Nugent, Frank (March 29, 1940). "Movie Review - Rebecca". The New York Times. Retrieved November 28, 2015.
- "Rebecca". Variety. New York: Variety, Inc. March 27, 1940. p. 17.
- "Reviews". Film Daily. New York: Wid's Films and Film Folk, Inc.: 6 March 26, 1940.
- "'Rebecca' with Laurence Olivier and Joan Fontaine". Harrison's Reports: 54. April 6, 1940.
- Mosher, John (March 29, 1940). "The Current Cinema". The New Yorker. New York: F-R Publishing Corp. p. 71.
- "'Rebecca' Wins Critics' Poll". Film Daily. New York: Wid's Films and Film Folk, Inc.: 1 January 14, 1941.
- BY WAY OF REPORT: Presented by the Royal Air Force By A.H. WEILER. New York Times (1923-Current file) [New York, N.Y] March 3, 1946: X3.
- "The 13th Academy Awards (1941) Nominees and Winners". Academy of Motion Picture Arts and Sciences. Retrieved June 19, 2013.
- "Critic's Pick: Rebecca". The New York Times. Retrieved December 13, 2008.
- "Screen Guild Theater". Internet Archive. Retrieved October 14, 2015.
- "The Screen Guild Radio Programs". Digital Deli Too. Retrieved June 30, 2015.
- "Cresta Blanca Hollywood Players". RadioGOLDINdex. Retrieved November 7, 2015.
- "The Lux Radio Theatre". RadioGOLDINdex. Retrieved October 14, 2015.
- "Lux Radio Theatre 1950". Internet Archive. Retrieved October 14, 2015.
- "Rebecca". Internet Broadway Database. Retrieved October 14, 2015.
- "Philco Television Playhouse". Classic Television Archive. Retrieved October 14, 2015.
- "Robert Montgomery Presents". Classic Television Archive. Retrieved October 14, 2015.
- "Broadway Television Theatre". Classic Television Archive. Retrieved October 14, 2015.
- Rebecca (1962) (TV), Internet Movie Database. Retrieved October 8, 2013.
- Kroll, Justin; Kroll, Justin (2018-11-14). "Lily James, Armie Hammer to Star in Daphne du Maurier Adaptation 'Rebecca'". Variety. Retrieved 2018-12-06.
- The Carol Burnett Show: Episode No. 6.3 (27 September 1972), Internet Movie Database. Retrieved October 8, 2013.
- Video on YouTube
|Wikiquote has quotations related to: Rebecca (film)|
|Wikimedia Commons has media related to Rebecca (film).|
- Rebecca at the American Film Institute Catalog
- Rebecca on IMDb
- Rebecca at the TCM Movie Database
- Rebecca at AllMovie
- Rebecca at Rotten Tomatoes
- Rebecca: The Two Mrs. de Winters an essay by Robin Wood at the Criterion Collection