The first of three Hitchcock movies in my Top 50, Rebecca is quite unlike anything he has done before or since. Hitchcock has built a reputation over the course of his career as being the 'master of suspense', and Rebecca is a perfect example of why. The suspense and tension experienced while watching this movie is second only to Rear Window as examples of Hitch at his most suspenseful.
Rebecca follows the story of a young woman (Joan Fontaine), who after accidentally meeting rich widower Maxim de Winter, falls in love and the two end up getting married. When he takes her to his estate 'Manderlay', and introduces her to the servants, she begins to realise that the memory of his former wife Rebecca (who had died the previous year in a boating accident), maintains a grip on the affairs of the house and the people who live there. Aside from Maxim, the memory of Rebecca seems to have an overwhelmingly strong grip on housekeeper Mrs. Danvers (Judith Anderson), who doesn't warm up to the 'new' Mrs. de Winter all too well.
The unfolding of the mystery behind Rebecca creates so much tension, that combined with the eerily shot mansion and its surroundings, this is one of the greatest examples of suspense done right. Hitchcock takes his time in telling this story, and his direction is perfect. He allows everything to be revealed in exactly the right time, and this is one of the best examples of pacing I can think of.
The performances are all superb. Laurence Olivier uses the right balance to portray the tormented and cold, yet kind-hearted Maxim. Joan Fontaine is likewise wonderful in her use of balance to portray her character's transformation from naive and innocent to mature and grounded. Judith Anderson provides a perfectly mysterious and spooky Mrs. Danvers, and Florence Bates steals scenes in a flawless performance in a limited role as Mrs. Van Hopper.
Hitchcock does everything right here, and the fact that this makes my Top 50 as only my third favourite film by the director only adds credit to his calibre. His use of pacing, lighting and shadows are all impeccably done. One of the few great suspense/mystery stories.
© 2007 Kim Bartlett
Rebecca follows the story of a young woman (Joan Fontaine), who after accidentally meeting rich widower Maxim de Winter, falls in love and the two end up getting married. When he takes her to his estate 'Manderlay', and introduces her to the servants, she begins to realise that the memory of his former wife Rebecca (who had died the previous year in a boating accident), maintains a grip on the affairs of the house and the people who live there. Aside from Maxim, the memory of Rebecca seems to have an overwhelmingly strong grip on housekeeper Mrs. Danvers (Judith Anderson), who doesn't warm up to the 'new' Mrs. de Winter all too well.
The unfolding of the mystery behind Rebecca creates so much tension, that combined with the eerily shot mansion and its surroundings, this is one of the greatest examples of suspense done right. Hitchcock takes his time in telling this story, and his direction is perfect. He allows everything to be revealed in exactly the right time, and this is one of the best examples of pacing I can think of.
The performances are all superb. Laurence Olivier uses the right balance to portray the tormented and cold, yet kind-hearted Maxim. Joan Fontaine is likewise wonderful in her use of balance to portray her character's transformation from naive and innocent to mature and grounded. Judith Anderson provides a perfectly mysterious and spooky Mrs. Danvers, and Florence Bates steals scenes in a flawless performance in a limited role as Mrs. Van Hopper.
Hitchcock does everything right here, and the fact that this makes my Top 50 as only my third favourite film by the director only adds credit to his calibre. His use of pacing, lighting and shadows are all impeccably done. One of the few great suspense/mystery stories.
© 2007 Kim Bartlett
A fantastic, often overlooked Hitchcock. Olvier, Fontaine and Sanders are all very strong. And then of course there's Judith Anderson. Despite his frequent use of gay villians, Hitch rarely ventured into the realm of the creepy lesbian. But he does here
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ReplyDeleteRebecca has become for me, after about a year of cordial dislike, not only in my favourite Hitchcock, but top ten material. I could appreciate its art before, but something didn't quite click with me... until I read the book. I realise, of course, that's cheating, but... it opened such a broader experience of the film, that I'm glad I did.
Now, that said, I'll now name drop Judith Anderson, because she was absolutely AMAZING... even at times overshadowing Olivier, which is indeed quite the accomplishment. And, while I'm generally no big fan of Fontaine, her usual blandness fits the role of Mrs de Winter like a glove... though I'm the rare specimen that actually LOVED Vivien Leigh's screen test for the role, but oh well. Great review.
"(Yes, all the comments I've left tonight come from guilt from not having left them before)"
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