show menu

Rebecca and Rebecca, Ben Wheatley after Alfred Hitchcock

"Last night I dreamt I went to Manderley again.” This introductory sentence is arguable one of the most recognizable in modern literature. Daphne Du Maurier's novel “Rebecca,” spans several genres. It is a romance, a psychological thriller and a Gothic mystery. Written in 1938, it was first transposed into a film in 1940 by suspense-meister Alfred Hitchcock, who had recently been enticed away from his native England by producer, David O Selznick. The film became Hitchcock's only best picture Oscar. It starred Sir Laurence Olivier and Joan Fontaine who were both at the pinnacle of their careers. The DVD is available in the Criterion Collection but is difficult to track down. There is renewed interest in “Rebecca” because of a fresh version that has recently been released for streaming on Netflix.

Alfred Hitchcock’s “Rebecca” is a Criterion Classic.
Alfred Hitchcock’s “Rebecca” is a Criterion Classic.

The narrative opens in Monte Carlo in a luxury hotel in that rarefied society inhabited only by the ultra-rich. Our heroine is a paid companion to a wealthy, snobbish and thoroughly obnoxious older woman, Mrs. Van Hopper. She is mousey and naive but also is perky and bright. She encounters a handsome widower, Maxim De Winter, and they go for rides and to the beach and what starts out as a tentative friendship turns into a romance. When Mrs. Van Hopper, on a whim, decides to leave and return home our girl is distraught. She rushes to tell Maxim of her abrupt departure and he impulsively asks her to marry him. When the ingénue bride arrives at his massive estate, Manderley, she is confronted with the overwhelming presence of Maxim's first wife, Rebecca.

In Monte Carlo, Max de Winter (Laurence Olivier) stops to speak to Mrs. Edythe Van Hopper (Florence Bates) only after recognizing her companion (Joan Fontaine), the girl he had encountered earlier.
In Monte Carlo, Max de Winter (Laurence Olivier) stops to speak to Mrs. Edythe Van Hopper (Florence Bates) only after recognizing her companion (Joan Fontaine), the girl he had encountered earlier.

Trailer: 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. A modern adaptation of Daphne Du Maurier's gothic novel comes to Netflix: starring Armie Hammer, Lily James, and Kristin Scott Thomas.

Although recently deceased, Rebecca's essence permeates every facet of life at Manderley. Her personal artifacts are enshrined with the ubiquitous and what becomes the ominous letter “R.” Her persona is especially perpetrated by the head of the household staff and her former maid, the spectral Mrs. Danvers. We learn that Rebecca was very beautiful and very promiscuous then the twists and turns ensue. To discuss them would be spoilers for those who have not read the book or seen the first film.

The harsh beauty of the English sea side is displayed sometimes with ominous swarms of birds.
The harsh beauty of the English sea side is displayed sometimes with ominous swarms of birds.

Hitchcock's rendition was in black and white and the chiaroscuro shadows add to the feeling of foreboding. Also a major plot point was tweaked because the film was made under the restrictions of the Hays Code which indicated that evil deeds portrayed must have consequences. The recent film is in color and the harsh beauty of the English sea side is displayed sometimes with ominous swarms of birds that are shown swerving and hovering over the waves in obvious homage to Du Maurier's story of The Birds the filming of which has given Bodega Bay its claim to fame. Armie Hammer portrays a much younger Maxim than in the original interpretation and Kristin Scott Thomas is the cruel and conniving Mrs. Danvers. Lily James is the second Mrs. De Winter whose first name is never known a genius device that adds to the overpowering influence of Rebecca whose irresistible force reaches beyond the grave.

We've moved our commenting system to Disqus, a widely used community engagement tool that you may already be using on other websites. If you're a registered Disqus user, your account will work on the Gazette as well. If you'd like to sign up to comment, visit https://disqus.com/profile/signup/.
Show Comment