🎦 Rebecca full movie HD download (Alfred Hitchcock) - Drama, Thriller, Mystery, Romance. 🎬
Drama, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
Laurence Olivier as 'Maxim' de Winter
Joan Fontaine as The Second Mrs. de Winter
George Sanders as Jack Favell
Judith Anderson as Mrs. Danvers
Nigel Bruce as Major Giles Lacy
Reginald Denny as Frank Crawley
C. Aubrey Smith as Colonel Julyan
Gladys Cooper as Beatrice Lacy
Florence Bates as Mrs. Edythe Van Hopper
Melville Cooper as Coroner
Leo G. Carroll as Dr. Baker
Lumsden Hare as Tabbs
Forrester Harvey as Chalcroft
Philip Winter as Robert
Storyline: A shy ladies' companion, staying in Monte Carlo with her stuffy employer, meets the wealthy Maxim de Winter. She and Max fall in love, marry and return to Manderley, his large country estate in Cornwall. Max is still troubled by the death of his first wife, Rebecca, in a boating accident the year before. The second Mrs. de Winter clashes with the housekeeper, Mrs. Danvers, and discovers that Rebecca still has a strange hold on everyone at Manderley.
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Rebecca (1940)
This is an excellent film and it was directed by no other than the infamous Alfred Hitchcock.

This film starts out with some amazing music. The introduction starts out with suspenseful and then changes into classical romance music. The narration of a woman wishing to return to Mandeley. The film portrays a young woman who falls in love with a millionaire Maxim De Winters and marries him.

They leave for Maxim's home called Mandeley. During the 2nd wifes time at Mandeley, she is constantly reminded and compared to the first Mrs. De Winters-Rebecca. No one ever calls the 2nd wife by her first name, she is always referred to as dear, sweetheart or Mrs. Da Winters. Throughout her stay at Mandeley, the 2nd Mrs. De Winters grows extremely concerned for her relationship with Maxim. She also fears the housekeeper Ms. Danvers.

The lighting and sound for this movies was right on. I loved the scene at the cottage with Maxim and the 2nd Mrs De Winters. As always with a Hitchcock film there are twists in the plot. However I never thought it would end the way it did. I loved this film!
Best movie ever!!!!
This movie is very close to the actual book, written by Daphne du Maurier. I read the book after I first saw the movie. The similarities are amazing. When I first saw this movie I fell in love with it. I never really liked black and white movies but this one caught my attention right off the bat. The love story is amazing. Alfred Hitchcock is an amazing man. I don't want to spoil the movie. It is a must see!!!!!!!!!!!!!!!! Laurence Olivier, Joan Fontaine and Judith Anderson are well paired. The ending of the movie is definitely a surprise! It was a pleasure to visually experience the early way movies where put together and the difference between the 1930 to the present.
A Gothic Hollywood romance in the hands of a master
Both a Golden Age Gothic romance and a true Hitchcock thriller, "Rebecca" somehow merges its director's style with its producer's sensibility. Much has been made about the butting of heads between Alfred Hitchcock and famed Hollywood producer David O. Selznick, but "Rebecca" ends up feeling like a Hitchcock picture with the sweeping feel of a Hollywood film.

Despite being Hitchcock's first experience working with Hollywood and Selznick's reputation for controlling his projects and making literal book adaptations (this being of Daphne Du Maurier's novel), the best parts of the film have Hitchcock's thumbprint on them. He infuses the story with total suspense and discomfort, refusing to let it bore for long in spite of its length.

The story follows a Gothic romance storytelling model akin to the Bronte sisters, which explains why star Joan Fontaine won the lead in "Jane Eyre" opposite Orson Welles just a few years later. Hitchcock channels nearly everything through Fontaine's performance as the aptly unnamed main character, a personal assistant who on a whim during her stay in Monte Carlo meets and marries a wealthy widower (Laurence Olivier). Fontaine exudes a lovable naivete, one that starts out earning sympathy but twists into an attribute that antagonizes the audience as the film goes on as the presence of the late great first Mrs. De Winter, Rebecca grows more powerful.

The role of Rebecca easily ranks as the most powerful character in cinema to never appear on screen. Hitchcock sees to it that her presence not only fills the mansion that already overwhelms the new Mrs. De Winter, but also consumes the film itself. She's felt both on camera and in the audiences mind, enough so that when Hitchcock pretends that she's really there by "following her" with the camera in a key scene late in the film where Maxim recalls the night she died, you honestly believe it and picture her as some terrifying figure.

But there's no depreciating the characters on screen. Fontaine as she writhes about in mentally anguish does manifest everything a bit too physically, but the reaction she creates in the audience is a palpable paranoia and fear. Olivier portrays a man quick to anger but clearly for deep-seated reasons that come from a dark place.

Then there's Mrs. Danvers, the woman who runs the house. The moment Judith Anderson walks on screen she enters your mind. A good comparison would be Margaret Hamilton as the Wicked Witch in "The Wizard of Oz." It helps that Mrs. Danvers also serves as an antagonist, but in an entirely different way. We connect with our unnamed heroine's fear of Mrs. Danvers, but not simply because she plays the creepy housekeeper, but as we come to know her and understand her connection to the late Rebecca, she becomes this psychologically complex individual. Although Hitchcock's directorial voice runs through Fontaine, Anderson adds punctuation to his efforts, especially as she steals the final moments of the film.

Although the Academy of Motion Picture Arts & Sciences would have you believe "Rebecca" to be Hitchcock's finest effort, it merely showcases his ability as an artist to overcome what was a producer-driven Hollywood at the time. Despite David O. Selznick's name appearing before the title card, Selznick will always be better remembered for "Gone with the Wind.' "Rebecca" — that was Hitchcock's work.

~Steven C

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On The Road To Manderley
I've always found it curious that of all the films Alfred Hitchcock directed Rebecca was the one that wound up with the Best Picture Oscar and that Hitchcock didn't receive Best Director for it. Usually those two go together. John Ford won his second Oscar for Best Director for The Grapes of Wrath that year instead. Also Laurence Olivier, Joan Fontaine and Judith Anderson were nominated and all came up short.

Off the top of my head I would say Vertigo, North By Northwest, Shadow of a Doubt, and Spellbound are all qualitatively better than Rebecca. Yet Rebecca does have a nice Gothic horror feel to it though there is nothing supernatural going on here.

Laurence Olivier plays Maxim DeWinter, heir to the estate of Manderley who is in Monte Carlo looking to get away from the place because of the death of his first wife Rebecca. She was by all accounts a regal beauty who was the toast of society and he's in mourning for her loss.

But he meets Joan Fontaine a nice, but plain sort of girl who is the paid companion of American dowager Florence Bates. Maybe because she's the opposite of Rebecca he's attracted to her. Fontaine grabs him on the spot when marriage is proposed.

Fontaine has a lot of insecurities much like her character in a following Hitchcock film, Suspicion. They're not eased any by Judith Anderson the housekeeper of the big Manderley estate.

Mrs. Danvers was Judith's career role. Before writing this review I remarked to someone else that I wonder what Mr. Danvers must have been like. It occurred to me later that there was no Mr. Danvers, he exists only as an excuse or a pretense so there would be no whispers about her unmarried status. She pretends to be a widow.

There's more than just latent lesbianism in Judith Anderson's portrayal. She was totally in love with the late Rebecca DeWinter and I'm sure it got good and physical. She can't stand seeing anyone else in taking her place. Since it comes out that Rebecca was fooling around with her cousin George Sanders, why not a lesbian affair as well. If Rebecca were written today, Mrs. Danvers would be more openly lesbian.

Rebecca was the first of Alfred Hitchcock's American films as well, though it was done here it was done by the English colony in Hollywood. Hitchcock never had budgets that Selznick gave him over in the UK. The sets depicting the grandeur of Manderley are an eye full. Than again so were the sets of Tara in Selznick's Best Picture of the previous year, Gone With the Wind.

Rebecca is a good mixture of mystery, Gothic horror, and romance served up quite nicely by Alfred Hitchcock.
What other word can describe such a piece of art? The Selznick/Hitchcock team may have been very strained relation-wise, but it proved to turn out one heck of a motion picture. The photography is awesome. The shadows cast all over Manderley are beautiful. The performances are dead-on. Joan Fontaine deserved the Oscar, but Judith Anderson is the best here. She never misses a note as the sinister Mrs. Danvers.

The basic summary is this: Maxim de Winter (Laurence Olivier) takes his second wife (Fontaine) back to his large estate Manderley, where his bride is terrorized by memories of Maxim's first wife, Rebecca.

There is no other movie that can compare. A perfect 10.
A Magnificent Film
Date: 18 July, 2012 -First Time Watch- I love old Hollywood movies, mostly because they had good story lines and fantastic acting. Alfred Hitchcock does an amazing job with this in almost every movie he did. 'Rebecca' is an example of a another amazing old Hollywood film. The story opens with Joan Fontaine finds Laurence Olivier (he was so young and I felt oddly attracted to him) on the ledge of a cliff, ready to jump in. She stops him and they met up again later that day. They spend lots of time with each other and soon marry, despite the fact that Ms. Fontaine is unprepared for her new role as Olivier's wife. Trouble only continues when Ms. Fontaine arrives at the large estate and finds that everyone, especially the head maid Miss. Danvers, compares her to the greatly loved Rebecca, Olivier's first wife who died tragically a year before when she took her boat out by herself and drowned. But, as always Mr. Hitchcock throws in several twists and turns with a surprising conclusion. Definitely a very well done film with plenty of action and suspense to keep you interested.

for me - the film of Judith Anderson. her performance defines the atmosphere and the rhythm and the cold air of a remarkable adaptation. in same measure, she seems be the perfect axis for bright the performances of Laurence Olivier and Joan Fontain. because it is more than a good film or high level adaptation. it is a pure Hitchcock, impressive for each detail and nuance, fascinating for the tension and for the strange evolution of story, against the obvious remark than it is a film of his actors.because it has a not small dose of magic in each scene. because it reminds old dark fairy tales and the emotion is the same front to the brothers Grimm stories. that does it a masterpiece.
Rebecca, Larger-than-Life, Larger-than-Death...
"Last night, I dream I went to Manderley again."

This is the narration, murmured by Joan Fontaine's soft voice and inviting us for a posthumous tour over the English countryside, to the local manor that turned into a ghostly no man's house, surrounded by dark and brooding trees enveloping the place with an aura of sacred danger like some monster's claws over a precious catch. What is with that Manderley that inspired that dream anyway?

The answer is of course in the title, it's all about "Rebecca". In fact, there's not a single element that belongs to the film or to the original novel written by Daphne du Maurier and that can be defined with the economy of that name-calling. Manderley was the place Rebecca lived. Maxim de Winter (Laurence Olivier) is Rebecca's widow. Mrs. Danvers (Judith Anderson) is her former governess. And Joan Fontaine suffers from the most ungrateful status as she's not even given a first name, she's only known as the "second Mrs. De Winter" she's not even Rebecca's rival because it's a lost fight, mentioning her in the same breath than Rebecca is like pronouncing the name of God in vain.

So, the whole movie is overshadowed by Rebecca's aura, it's like the black-and-white photography, drawn through powerful contrasts, was just some decoy containing the shadowy presence of Rebecca, likely to commit an intrusion at any time, by means of a memory, an evocation, a revelation or a confession. There's a moment where Fontaine asks Maxim's best friend (Reginald Denny) about Rebecca, all he can say is that she was the most beautiful creature he ever saw. It takes some superhuman talent to convince us that Fontaine's not as beautiful as Rebecca, however she looked. As the shy, hapless and desperate-to-please Mrs. De Winters, Fontaine is vital to the credibility of the story because through her behavior, she's the plain that gives prominence to the mountain.

And 'plain' is the world, it is the mark of a very subtle talent to take distance from the usual strong-minded, glamorous and independent heroines played by the likes of Bette Davis and Katherine Hepburn and create such a fragile, delicate and mild-mannered woman, begging for friendship rather than love, in awe for her husband and in total fear from Mrs. Danvers, the ominous governess who never misses an opportunity to remind what kind of a woman Rebecca was. It's a real psychological torture-game operating on Mrs. De Winter's head and frail shoulders and she hardly finds comfort in Maxim, who seems to be constantly preoccupied and absent. Olivier seems rather uncomfortable in the role, but while the story unfolds, we slowly understand the reason of his emotional nonchalance and the no-less odd attraction to his new wife. Of course, even the answers belong to Rebecca.

Daphne du Maurier was a woman who enjoyed isolation, not just for work but also as a way to contemplate her freedom and question her identity. This distance from the world predisposed her for fascination, for the ability, as a 'first person' to be haunted by someone, and it often happened to be a woman, or her memory, sometimes even a vague idea was enough. Through her fertile imagination and ambiguous sexuality, she managed to translate this power into a splendid Gothic-tale whose risqué subjects forced Hitchcock to make a few changes. But he faithfully, albeit at times not too subtly, respected the original material and, his camera-work conveyed the ghostly presence of Rebecca. Even Danvers who seemed to have had a privileged relationship (of platonic nature in the film) seems to glide over the place, as if she was possessed by the soul of her deceased mistress.

Hitchcock was a craftsman and his camera loved the faces of Anderson and Fontaine, the cinematography also accentuates the feeling of an impending danger, and the acting was enriched by the presence of a youngish George Sanders and Leo G. Carroll who would also reveal one thing or two about good old Rebecca. It was Hitchcock's first Hollywood movie and needless to say the trial was conclusive. The film won the Oscar for Best Picture, over classics like "The Grapes of Wrath" and "The Great Dictator", without winning any of the major awards in the directing, acting and writing department, but I guess that's what can be said about "Rebecca", it is a great picture with the looks, the mystery, the acting and everything one could ask for.

I only wish it didn't overplay the melodramatic violins and a succession of twists and revelation at the end satisfy the mind, but don't fool us either as Olivier didn't play the kind of roles that deserved a happy ending by Hitch' standards. The film redeems itself with some last-minute thrills but Hitchcock would make more subtle films. Still, "Rebecca" holds up well today because there's that uniqueness in the heroine and this extraordinary presence, the fascination over the fact that the most fascinating character is actually absent. The American Film Institute recognized Mrs. Danvers as the thirty-first villain of all time, but I wonder if Rebecca on her own way was the real antagonist and would have deserved that title a little more. Indeed, we never see her, but we can feel her actions, just like the Man in "Bambi" who also nominated in the same list, an invisible but an undeniably evil presence.

Now, does Rebecca win or lose as an antagonist? Well, from the opening line, the one about that dream, one can guess that you can never totally get rid of Rebecca, and maybe for that reason, despite the film's flaws and that it's never mentioned at along with "Vertigo", "Psycho", "North by Northwest" or "Rear Window" as Hitch' best, we can never totally ignore "Rebecca".
Do you think the dead come back and watch the living?
Rebecca is directed by Alfred Hitchcock and adapted to screen play from the Daphne du Maurier novel of the same name. It stars Laurence Olvier, Joan Fontaine and Judith Anderson. Cinematography is by George Barnes and music scored by Franz Waxman.

After meeting and marrying 'Maxim' de Winter (Olivier), the Second Mrs. de Winter (Fontaine), finds life at his English estate, Manderley, far from comfortable because the servants and the house serve to remind her of the first Mrs. de Winter, whose death remains a source of mystery. What did happen to the first lady of the house? Can this newly married couple survive the oppressive cloud that looms large over the mansion?

A Gothic emotional near masterpiece, Alfred Hitchcock's first American film may seem a bit too serviceable at times, something he was also aware of himself, but the production values are high and the story is played out supremely well. Within the story we can find Hitchcock's now famous trait of mistrusting Women, but in the main it stays the tragic tale of one young woman living in the ominous shadow of the previous Mrs. De Winter. Mood is often set as foreboding, with the director understanding the psychological pangs of the source material once the action switches to the de Winter home of Manderley. It arguably is a touch too long, and the restraint of Hitchcock, down to producer David O. Selznick overseeing things, stops it being a bit more unnerving than it should be.

For Manderley the mansion here is one of the finest put on the screen, this is because Hitchcock and brilliant cinematographer George Barnes manage to make it bold & beautiful one minute, and then the next scene it comes off as a monolithic nightmare. It's wonderful case of the surroundings playing the extra character for maximum effect. Laurence Olivier is impressive, even if we would learn later on that this is the sort of performance he could do in his sleep. The supporting cast do great work as well, especially as regards the cold and terrifying turn from Judith Anderson as Mrs. Danvers. However, to me this will always be Joan Fontaine's show, she nails it perfectly, the new Mrs. De Winter wants to do right but can't seem to so for doing wrong, she infuriates at times, yet the next minute you just want to hold her, for she's so vulnerable, but beautifully so, it's a brilliant performance in a brilliant film.

The ending is a switheroo from the novel, and it almost derails the success the film has achieved up to that point. And looking at it now it's hard not to curse the Production Code for enforcing a big change to what was revealed in du Maurier's wonderful novel. But the film has survived the "appeasing" ending to stand the test of time for all the ages. It won the Academy Award for Best Picture, and Barnes also won for Best Black & White Cinematography, it was nominated for a further nine awards, including Best Director, Best Actor, Best Actress and Best Supporting Actress. No nomination for Waxman, sadly, but his score is worthy of a mention for the evocative strains that sit nicely with the tone of the story. Rebecca, a hauntingly beautiful picture that's acted and produced with consummate skill. 9.5/10
Masterclass in mystery
REBECCA, an enthralling adaptation of the Daphne Du Maurier novel, is probably the closest that Hitchcock got in his career to making a traditional 'haunted house' film. Certainly his adaptation of the classic book is laden with Gothic dread, as a newly-wed bride moves into the ancestral home of her husband and discovers that the spirit of his dead wife is very much alive and out to bring her down.

REBECCA is a highly effective non-supernatural horror/mystery flick, with expert direction (of course) and a mature approach to the storyline. It may be a little slow for modern tastes, but this gives the director the chance to let the audience experience the nuances and delightful atmosphere of the storyline.

Joan Fontaine is fantastic as the new Mrs. de Winter in one of those 'being driven out of her mind' type roles. Laurence Olivier is more than effective in his ambiguous part. The supporting parts are particularly well judged, with a well-placed cameo for Leo G. Carroll, another humorous bumbling part for Nigel Bruce, and George Sanders appearing as a delightful cad. The latter part of the film, where the mystery begins to be cleared up, is particularly well-handled, leading to a gripping climax. As for Judith Anderson as the housekeeper Mrs. Danvers...well, she'll go down in the pantheon of Hitchcock villains as one of his creepiest and most ruthless!
📹 Rebecca full movie HD download 1940 - Laurence Olivier, Joan Fontaine, George Sanders, Judith Anderson, Nigel Bruce, Reginald Denny, C. Aubrey Smith, Gladys Cooper, Florence Bates, Melville Cooper, Leo G. Carroll, Leonard Carey, Lumsden Hare, Edward Fielding, Forrester Harvey, Philip Winter - USA. 📀