Rebecca (1940)

Director:

Alfred Hitchcock

Writers:

Daphne Du Maurier (novel)
Philip MacDonald (adaptation) ...
(more)

Release Date:

12 April 1940 (USA)

Genre:

Mystery | Romance | Thriller

Tagline:

The shadow of this woman darkened their love.

Plot:

When a naive young woman marries a rich widower and settles in his gigantic mansion, she finds the memory of the first wife maintaining a grip on her husband and the servants.

Plot Keywords:

Love | Housekeeper | Death | Widower | Servant

Awards:

Won 2 Oscars. Another 9 nominations

Cast

Laurence Olivier	...	'Maxim' de Winter
Joan Fontaine	...	The Second Mrs. de Winter
George Sanders	...	Jack Favell
Judith Anderson	...	Mrs. Danvers
Nigel Bruce	...	Major Giles Lacy
Reginald Denny	...	Frank Crawley
C. Aubrey Smith	...	Colonel Julyan
Gladys Cooper	...	Beatrice Lacy
Florence Bates	...	Mrs. Edythe Van Hopper
Melville Cooper	...	Coroner
Leo G. Carroll	...	Dr. Baker
Leonard Carey	...	Ben
Lumsden Hare	...	Tabbs
Edward Fielding	...	Frith
Forrester Harvey	...	Chalcroft
Philip Winter	...	Robert
rest of cast listed alphabetically:
Billy Bevan	...	Policeman (uncredited)
Egon Brecher	...	Hotel Desk Clerk (uncredited)
Gino Corrado	...	Hotel Manager (uncredited)
Alfred Hitchcock	...	Man Outside Phone Booth (uncredited)
Leyland Hodgson	...	Mullen (uncredited)
Alphonse Martell	...	Hotel Headwaiter (uncredited)
William H. O'Brien	...	Hotel Waiter (uncredited)
Ronald R. Rondell	...	Hotel Dining Room Guest (uncredited)

Directed by
Alfred Hitchcock

Writing credits
Daphne Du Maurier		(novel)
Philip MacDonald		(adaptation) and
Michael Hogan		(adaptation)
Robert E. Sherwood		(screenplay) and
Joan Harrison		(screenplay)

Produced by
David O. Selznick	....	producer

Original Music by
Franz Waxman

Cinematography by
George Barnes		(photographed by)

Film Editing by
W. Donn Hayes		(uncredited)

Art Direction by
Lyle R. Wheeler		(as Lyle Wheeler)

Makeup Department
Monte Westmore	....	makeup artist (uncredited)

Second Unit Director or Assistant Director
Edmond F. Bernoudy	....	assistant director (as Edmond Bernoudy)
Eric Stacey	....	assistant director (uncredited)

Art Department
Howard Bristol	....	interior decorator
Joseph B. Platt	....	interior designer
Dorothea Holt	....	illustrator (uncredited)

Sound Department
Jack Noyes	....	sound recordist
Arthur Johns	....	sound (uncredited)

Special Effects by
Jack Cosgrove	....	special effects

Visual Effects by
Albert Simpson	....	matte artist (uncredited)

Camera and Electrical Department
Arthur E. Arling	....	camera operator (uncredited)
Vincent J. Farrar	....	camera operator (uncredited)
Lloyd Knechtel	....	director of photography: second unit (uncredited)
Fred Parrish	....	still photographer (uncredited)
Irving Rosenberg	....	camera operator (uncredited)
Archie Stout	....	director of photography: second unit (uncredited)
John F. Warren	....	assistant camera (uncredited)
Harry L. Wolf	....	assistant camera (uncredited)

Editorial Department
Hal C. Kern	....	supervising editor (as Hal G. Kern)
James E. Newcom	....	associate film editor

Music Department
Louis Forbes	....	musical associate (as Lou Forbes)
Robert Russell Bennett	....	orchestrator (uncredited)
Hugo Friedhofer	....	orchestrator (uncredited)
Paul Marquardt	....	orchestrator (uncredited)
Joseph Nussbaum	....	orchestrator (uncredited)
Leonid Raab	....	orchestrator (uncredited)

Other crew
Barbara Keon	....	scenario assistant
W.A. Bagley	....	technical advisor (uncredited)
Russell Birdwell	....	unit publicist (uncredited)
Katherine Brown	....	story editor (uncredited)
Adele Cannon	....	script clerk (uncredited)
Val Lewton	....	story editor (uncredited)
Marcella Rabwin	....	executive assistant to producer (uncredited)
Lydia Schiller	....	continuity supervisor (uncredited)
David O. Selznick	....	presenter (uncredited)

Production Companies

• Selznick International Pictures

Distributors

• United Artists (1940) (USA) (theatrical)
• United Artists Corporation (1940) (UK) (theatrical)
• S.R.O. (1947) (France) (theatrical)
• Eagle-Lion Films (1949) (USA) (theatrical) (re-release)
• Twentieth Century-Fox Film Corporation (1956) (USA) (theatrical) (re-release)
• ABC Video (1967) (USA) (all media)
• Columbia Broadcasting System (CBS) (1978) (USA) (TV) (network premiere)
• Guild Home Video (1986) (UK) (video)
• CBS / Fox Video (1988) (USA) (VHS)
• Key Video (1988) (USA) (VHS)
• Criterion Collection, The (1991) (USA) (video) (laserdisc)
• Braveworld (1992) (UK) (video)
• British Film Institute (BFI) (1996) (UK) (theatrical)
• Total Home Entertainment (1996) (UK) (video)
• Videosonic Arts (1996) (Greece) (VHS)
• Anchor Bay Entertainment (1999) (USA) (DVD)
• Pearson Television International (2000) (UK) (DVD)
• Criterion Collection, The (2003) (USA) (DVD)
• Aventi (2005) (France) (DVD)
• British Film Institute (BFI) (2006) (UK) (theatrical)
• T&K Telefilm (2007) (Japan) (theatrical)
• Athos Films (196?) (France) (theatrical) (re-release)
• Buena Vista International (????) (worldwide) (DVD)
• Fox Video (video)
• Sonoro Filme (Portugal)

Runtime:

130 min

Country:

USA

Language:

English | French

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Noiseless Recording)

Certification:

West Germany:16 | UK:A (original rating) | UK:PG (re-rating) | Spain:13 | Iceland:L | USA:Approved (certificate #5969) | Argentina:13 | Chile:14 | Finland:K-12 | South Korea:15 | Sweden:15 | Peru:14 | Germany:16

Filming Locations:

Big Sur, California, USA

Company:

Selznick International Pictures

Trivia:

Robert Donat was one of Alfred Hitchcock's choices for the character Maxim de Winter.

Goofs:

Errors in geography: George is driving on the left-hand side of the road outside Monte Carlo.

Quotes:

Mrs. Danvers: [as the second Mrs. de Winter runs into the room] I watched you go down just as I watched her a year ago. Even in the same dress you couldn't compare.
The Second Mrs. de Winter: You knew it! You knew that she wore it, and yet you deliberately suggested I wear it. Why do you hate me? What have I done to you that you should ever hate me so?
Mrs. Danvers: You tried to take her place. You let him marry you. I've seen his face - his eyes. They're the same as those first weeks after she died. I used to listen to him, walking up and down, up and down, all night long, night after night, thinking of her, suffering torture because he lost her!
The Second Mrs. de Winter: [turning away in shame and shock] I don't want to know, I don't want to know!
Mrs. Danvers: [moving towards her] You thought you could be Mrs. de Winter, live in her house, walk in her steps, take the things that were hers! But she's too strong for you. You can't fight her - no one ever got the better of her. Never, never. She was beaten in the end, but it wasn't a man, it wasn't a woman. It was the sea!
The Second Mrs. de Winter: [collapsing in tears on the bed] Oh, stop it! Stop it! Oh, stop it!
Mrs. Danvers: [opening the shutters] You're overwrought, madam. I've opened a window for you. A little air will do you good.
[as the second Mrs. de Winter gets up and walks toward the window]
Mrs. Danvers: Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
[softly, almost hypnotically]
[...]

Movie Connections:

Referenced in Tomb Raider: Chronicles (2000) (VG)

the first Hitchcock masterpiece

"Rebecca" was the first Hitchcock film I ever saw, and I was mesmerized by it from the start, convinced that I had to see more of the director's work. It richly deserved the Oscar it received, but it's a real puzzle that the Academy saw fit to withhold a best director award for Hitch. Would one possibly give an award to a work by Picasso and not to Picasso himself?

"Rebecca" was the first of the director's American-made films, and it shows. It's quite different from his earlier British-made films, such as "Young and Innocent" and even "The Lady Vanishes," which somehow seem more amateurish by comparison. (I know little of the British cinema of that era, but it's difficult not to conclude that Hollywood was better at producing more sophisticated efforts.) I would even judge "Rebecca" the best of his films of the early 1940s, with the possible exception of "Shadow of a Doubt." It is true, of course, that much of this film has become cliché (remember the spoofs on the old "Carol Burnette Show"!), but it still weathers the decades very well. The acting is uniformly excellent. Olivier is the hardened Maxim de Winter, untitled lord of Manderly, trying to forget the past and given to unexpected bouts of anger and coldheartedness. Fontaine is perfect as the unnamed mousy heroine, innocent yet deeply in love, still carrying with her the aura of an awkward schoolgirl. Even character actor Nigel Bruce, best known for his role in the Sherlock Holmes films, makes an appearance and plays, in effect, Nigel Bruce!

But it is Judith Anderson's role as Mrs. Danvers that viewers are likely to remember best. Her presence is as dark and foreboding as that of the deceased Rebecca herself, and Fontaine is evidently cowed by her icy stare and unnervingly formal manner. The dynamics between the two actresses are wonderful. Who could fail to empathize with Fontaine's unenviable position as, in effect, the new employer of such an intimidating personage? On the other hand, Olivier seems quite unfearful of Anderson, despite her representing so much of the past he is trying to block out. This part of the plot (even in the book) never made much sense to me and is unconvincing.

As far as I know, this film marked Hitch's first collaboration with composer Franz Waxman, whose haunting score makes it all the more memorable. Waxman's scores are perhaps less obviously cinematic than those of the incomparable Bernard Herrmann, who would score Hitch's films from 1955 to 1966. Contrast the score for "Rebecca" to Herrmann's music for "Citizen Kane" the following year, and you'll immediately hear the difference. Waxman's is more symphonic in the central European style reflective of his own birth and upbringing. Yet it is worth recalling that scoring films was still a new art at this time, and both Waxman and Herrmann were pioneers.

Finally, one has to mention the cinematography, which is magnificent. Technically "Rebecca" might have been filmed in colour, which was newly available in 1940. ("Gone with the Wind" was filmed entirely in colour the previous year, while "The Wizzard of Oz" and "The Women" had colour scenes.) But colour would have diminished its impact. The suspense and the ominous sense of impending doom could only have been communicated through the medium of black-and-white and the deft use of light and shade which it affords.

In one respect, of course, "Rebecca" is not a typical Hitchcock film. There is no fleeing innocent trying to clear his name of a crime he did not commit. Surprisingly, there isn't even a murder, although its absence was apparently imposed by the Hayes Code and is certainly foreign to Daphne du Maurier's original novel. Some have said that there is more Selznick than Hitchcock in this film, and perhaps there's something to that. Still, if the collaborative effort between the two was not exactly amiable, it was nevertheless successful.

In short, this is the first in a string of Hitchcock masterpieces.