Rebecca (1940)

A string of classic suspense films produced in England had earned Alfred Hitchcock a reputation in the United States, and his first American production, REBECCA, cemented his fame. Based on the novel by Daphne du Maurier, REBECCA was conceived to rival producer David O. Selznick's previous epic, GONE WITH THE WIND. This psychological thriller, however, derives its grandeur from Hitchcock's careful cultivation of the title character's haunting legacy. Joan Fontaine takes the starring role and narrates the story of her life as the second Madam de Winter. Fontaine, young and innocent, meets the worldly and sophisti...
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cated Maxim de Winter (Laurence Olivier) while vacationing on the Riviera. After a whirlwind romance and marriage, the two return to his opulent English estate, Maderley, where Fontaine begins to realize she is not entirely welcome in her new role. Chief among her detractors is housekeeper Mrs. Danvers (Judith Anderson), who points out her every failing in relation to the previous mistress of the house, Rebecca. Fontaine is nearly driven to suicide by her inability to understand the mysterious legacy of the first wife. However, when a ship washes ashore, the mystery begins to unravel, setting the stage for the memorable and fiery climax.
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Based on the novel by Daphne du Maurier, the classic psychological thriller Rebecca was Alfred Hitchcock's first American film. Joan Fontaine plays the unnamed narrator, a young woman who works as a companion to the well-to-do Mrs. Van Hopper (Florence Bates). She meets the wealthy widower Maxim de Winter (Laurence Olivier) in Monte Carlo, where they fall in love and get married. Maxim takes his new bride to Manderlay, a large country estate in Cornwall. However, the mansion's many servants refuse to accept her as the new lady of the house. They seem to be loyal to Maxim's first wife, Rebecca, who died under myst...
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erious circumstances. Particularly cruel to her is the prim housekeeper Mrs. Danvers (Judith Anderson), who is obsessed with Rebecca. She continually attests to her beauty and virtues (referring to her as "the real Mrs. de Winter") and even preserves her former bedroom as a shrine. The new Mrs. de Winter is nearly driven to madness as she begins to doubt her relationship with her husband and the presence of Rebecca starts to haunt her. Eventually, an investigation leads to the revelation about Rebecca's true nature. Producer David O. Selznick had the final cut of the picture, which was drastically altered from Hitchcock's original vision.
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Een meisje van eenvoudige komaf trouwt met een gedistingeerde kasteelheer Maxim. Het huwelijksgeluk wordt echter gedwarsboomd door de herinnering aan Rebecca, de vorige vrouw van Maxim. Rebecca was, zo lijkt het, bij iedereen zeer geliefd. Ze kwam onder duistere omstandigheden om het leven, maar haar geest waart nog altijd rond en het meisje probeert wanhopig deze supervrouw te vervangen.

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