🎦 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.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1080 px 7191 Mb h264 8091 Kbps ts Download
HQ DVD-rip 720x576 px 1633 Mb h264 1825 Kbps mkv Download
DVD-rip 640x480 px 566 Mb h264 605 Kbps avi Download
iPhone 640x480 px 1348 Mb h264 1506 Kbps mp4 Download
A film with a nameless protagonist and an invisible namesake
This was Alfred Hitchcock's first American-made film. Quite frankly, I'm amazed at how well Hitchcock "got" what American audiences wanted in their suspense films, hitting them out of the park from the moment he began working in the US.

Apart from being a tad bit long, this is a well made film. I love the inside of Mandalay and Sir Laurence Olivier played a wonderful mysterious and sullen Maximillian De Winter opposite his new wife, a beautiful and naive young Joan Fontaine who is never even given a name here, probably deliberately and in keeping with how mousy and "second hand" she feels about herself in relation to the first and late Mrs. De Winter, who is actually Rebecca from the title.

Of course there is also George Sanders, playing the type of character he is best known for--sarcastic, snobby, self-assured, pompous, witty and verbose. He hits the nail on the head as Rebecca's "cousin" - so he calls himself. Of course the most eerie and unsettling character was Mrs. Danvers, Rebecca's housekeeper or "maid in waiting." Danvers takes great pains in sabotaging the second Mrs. De Winter's marital relationship with Max de Winter,--even going as far as calmly urging her to to plunge to her death into the water from Rebecca's bedroom window at Mandalay. There are a couple of twists in this movie, but I won't give them away. It's best if you watch them unfold yourself in true Hitchcockian style.

I will say that Rebecca, the first wife of Max de Winter, is NEVER seen, but we learn about her by what is said about her by the various characters, even going as far as seeing the untouched shrine of a bedroom maintained by Mrs. Danvers. But soon you learn that Rebecca was never the perfect wife Danvers and others make her out to be. The ending is a surprise in more way than one, and yet Mrs. Danvers gets the last word in her own way. A great movie by Alfred Hitchcock and David O. Selznick.
I'm not much of a book reader but I LOVED the book and was very excited in school to watch this movie... then right from the beginning I was severely disappointed. The characters didn't reflect the writers picture of what they should have looked like and the acting was way over dramatized. It seems in many cases Hollywood ruins movies for the readers of the original books points of view. Was the acting good in this movie? Yes Was the directing good? Sort of... Was the casting correct and true to the story? NO I never understood why this movie was so popular... probably because most of it's viewers hadn't ever read the book before and since Hollywood loves to change things to make them "better" people didn't notice. If you want to see an amazingly accurate version of this wonderful book, watch the version from 1997 by Masterpiece Theatre staring Charles Dance as Maxim and Emilia Fox as Mrs. de Winter. The casting was PERFECT as was the acting. All the characters fit especially Mrs. de Winter who is supposed to be a little quiet mousy thing of a girl, very naive, who isn't all about glamor like the Mrs. de Winter depicted in the original film, who looked more like Rebecca than the character she was cast to play.
Good Job Building This By Alfred Hitchcock
The secret to truly appreciating this movie is to get through the first hour or so of it. To be frank, that first hour is less than riveting. We find ourselves following the romance and the early part of the marriage of the wealthy and lonely widower Maxim de Winter (Laurence Olivier) to his new young bride (Joan Fontaine.) There really isn't much meat to this part of the story. It's a bit of a rich meets poor love story, as the young bride finds herself in a romance with this man who was quite above her socially, and it's even got a bit of humour to it, as we watch the young woman's employer Mrs. Van Hopper (Florence Bates) try to ingratiate herself with Maxim. It's a pleasant enough (although not exactly engrossing) love story for a while, and after their return to Maxim's Manderlay estate it still seems to be little more than the challenge of the new Mrs. de Winter (whom I don't remember being named) to overcome the reluctance of the servants - and especially Mrs. Danvers (Judith Anderson) - to accept her, since they appear to have been fiercely devoted to the late Mrs. de Winter (whose name was Rebecca.) Yes, Mrs. Danvers is an unusual, and therefore suspicious, character who has more than a bit of mystery about her, but still this really doesn't seem to be going anywhere very fast.

Once we're through that first hour, though, plot twists start to emerge. Maxim starts to pull away from his bride - is he also having trouble accepting her as the new Mrs. de Winter at the estate? Are the differences in the marriage just too much to overcome? Then Rebecca's body is unexpectedly found and questions begin to emerge about how she died. At this point, director Alfred Hitchcock manages to turn what had been a rather empty story into a pretty good suspense/thriller. In that last hour, Hitchcock builds the story brilliantly, so that it gets progressively more suspenseful, and by the time the shocking final scene comes along, as a viewer you're absolutely hooked.

It's hard for a movie to overcome such a long stretch at the beginning where little of great note actually happens, but "Rebecca" manages to do just that. It's also interesting as an example of a fairly early piece of work by Olivier. (7/10)
Hitchcock waxing
Rebecca is one of the transition films that took Hitchcock from his British period to his early US period. Joan Fontaine, who just died as I write this, really is someone to behold in this film. It is always amazing how Hitchcock starts with innocuous situation, like a young woman employed as company for an elderly lady, woven together with a chance encounter, and ends up with a tightening noose around his characters. He perfected this in Psycho, and in the late, lesser work Family Plot - which is still remarkable.

As always, the suspense does not arise because the viewer is left in the dark about things the characters know. We discover the truth together with the main character, biting our knuckles.

Judith Anderson deserves a special mention. Her contempt for Fontaine's character, the usurper of the dead Goddess she worshiped as head housekeeper, drips off the screen. In general, the acting by the female lead and her female antagonist is much stronger, the roles are much juicier, than the male lead (a very competent Olivier) and his antagonist. Hitchcock really was a woman's director, and it shows in this film.

The sets are eerie, the costumes (by Edith Head? I don't recall for certain) perfect, even the letters that move the plot along are individualized in their handwriting.

It's gorgeous to watch, and the ending satisfies, yet the details are so rich, it is worth seeing again after a few years. I was on viewing #3.
Gothic Romance
Alfred Hitchcock directed this Gothic romance that stars Sir Laurence Olivier as Maxim De Winter, a recently widowed(and quite wealthy) man vacationing in Monte Carlo who meets the paid companion(played by Joan Fontaine) of a older woman. They unexpectedly fall in love and get married. They then return to his home in Cornwall, a country estate called Manderly ruled over by the imposing housekeeper Mrs. Danvers(played by Judith Anderson) who holds sacred the memory of the first Mrs. De Winter Rebecca, who died mysteriously in a boating accident. As events unfold, the new Mrs. De Winter will discover things about Maxim's past that will come to haunt her... Impressively directed and acted film is still melodramatic stuff given a high gloss, but remains entertaining and atmospheric, though hardly deserved to beat "The Grapes Of Wrath" for best picture of 1940!
A Classic on par with "Citizen Kane"
In a line-up of great motion pictures, "Rebecca" stands as one of the giants. It is arguably Hitchcock's greatest film effort, replete with jolting, slap-in-the-face plot twists and gothic sets. Dark and moody, the film boasts Sir Laurence Olivier and Joan Fontaine in slam-dunk, dead on performances, George Sanders as the deliciously despicable Jack Favell, and Judith Anderson nearly stealing the show as the eerie, obsessed housekeeper, Mrs. Danvers. A perfect "10".
My favorite Hitch

`Last night I dreamt I was at Manderly again.' As with Daphne DuMaurier's novel, so begins Alfred Hitchcock's classic film adaptation, and the only one of his films to be awarded an Academy Award for Best Picture. It should also be noted that the film also won an Oscar for Best Cinematography, Black and White. Hitchcock, Fontaine, Olivier, and Anderson were also nominated in their respective categories.

Rebecca was Alfred Hitchcock's first American movie, and much has been written about the interference by David O. Selznick with its production. That is not the purpose of this review, though. Frankly, I don't know all that much about what went on behind the scenes, but I do know that the resulting film is a masterpiece.

Rebecca can be divided into three parts: Monte Carlo, Manderly, and the inquest after the discovery of Rebecca' sunken boat.

At Monte Carlo, we are introduced to Joan Fontaine's character, a complete nonentity (in fact, we never learn her real name) who is serving as a paid companion to Mrs. Van Hopper, an obnoxious, wealthy matron delightfully played by Florence Bates. While there, she meets George Fortescu Maximillian de Winter (Maxim for short,played by Laurence Olivier), fabulously wealthy and as charming as Mrs. Van Hopper is boorish. Maxim has been traveling trying to recover from his first wife Rebecca's untimely death in a drowning accident. At the end of her stay at Monte Carlo, the young woman is surprised to have Maxim ask her to marry him, although not with as much romance as she would probably have liked, and much to the consternation of her erstwhile employer Mrs. Van Hopper.

The movie then takes us to Manderly, the palatial family estate of the de Winter family. Here Fontaine's character truly finds herself out of her depth as the new mistress of Manderly. Not only has she never had to deal with such a large house and a retinue of servants, but she gets a decidedly chilly reception from Mrs. Danvers (Judith Anderson), and everywhere she goes and everyone with whom she speaks reminds her of the beauty and accomplishments of Rebecca. She feels overwhelmed by the specter of Maxim's first wife and of his abiding love for her. Not only that, but Fontaine's character is treated like a child, both in Monte Carlo and at Manderly, whether it is in the dismissive way of Mrs. Van Hopper, the fatherly manner of Maxim, or in the gently patronizing way of Frith, Manderly's head butler. One gets the feeling that the new Mrs. de Winter is a child lost in this great house, afraid of making any false steps.

Judith Anderson is amazing as Mrs. Danvers. Although she never raises her voice, and always speaks with seeming respect to her new mistress, Anderson nonetheless allows Mrs. Danver's malevolence to come through. She is the archetype for all the cold-hearted housekeepers who have come since, and none can match her. She never lets Mrs. de Winter forget Rebecca and how she was loved by everyone, especially Maxim. Haunted by the specter of Rebecca, the new Mrs. de Winter seems to feel like an intruder, trespassing on Rebecca's home and sleeping in her bed.

Mrs. Danvers finally reveals the depth of her hatred by suggesting a costume for Mrs. de Winter to wear at a party that was originally worn by Rebecca. After Maxim's expected negative reaction, Mrs. Danvers urges her, in arguably the most memorable scene in the movie, to commit suicide by throwing herself from the window. Mrs. de Winter is saved, though, by the wreck of a boat near Manderly and the noise of the rescue that is undertaken.

During the course of the rescue, another boat is found: the one in which Rebecca died. Having discovered Rebecca's corpse inside, it is announced that an inquest must take place to investigate her death. When his wife tries to comfort Maxim, he reveals to her the truth behind his relationship with Rebecca: that he hated her, and was trapped by her into a sham of a marriage. He also tells her of how Rebecca died; that he had killed her in a rage and sunk the boat with her body inside. After this revelation, a change comes over the new Mrs. de Winter: she grows up, and is visibly more self-assured. She and Maxim, to a certain extent, reverse roles, in that he loses hope and she must comfort him and reassure him that all will be well, when in fact all seems hopeless. She is now truly the mistress of Manderly.

During the inquest, it is discovered that Rebecca's boat was scuttled, and had not capsized as was previously thought. Circumstantial evidence begins to pile up against Maxim, until a visit to Rebecca's personal physician reveals her ultimate betrayal and clears Maxim's name.

Rebecca is, essentially, a drama of mystery and romance, and in lesser hands it could easily fall into the trap of melodrama. But Hitchcock's deft direction, the superb cinematography, and the outstanding performances by the entire cast make it one of the greatest romances ever made, and one of my favorite films.
If you want to be totally enthralled for two hours just watch 'Rebecca'!
Hitchcock felt 'Rebecca', his first Hollywood film, was a compromise, but as a viewer I just can't fault it. It's a masterpiece in my opinion, full of suspense, mystery and brooding atmosphere. It's also one of the most romantic movies I've ever seen. I've watched it several times over the years, and even now that I know all the plot twists and turns (quite shocking on your first viewing), it never fails to hook me in. One of the reasons it really works is the flawless casting. I'm not much of an Olivier fan but he's superb as de Winter, with just the right mixture of charm and coldness. And Joan Fontaine is just perfect as de Winter's new bride. I can't spot an unconvincing moment in her performance and can't imagine any other actress in the role. Hitchcock subsequently used her in 'Suspicion' with Cary Grant. She was also excellent in that but 'Rebecca' is a much stronger movie. The supporting cast also includes some brilliant performances, especially Judith Anderson ('Laura') as the extremely creepy Mrs. Danvers, George Sanders who plays Rebecca's slimy cousin, and Nigel Bruce in a typical role as de Winter's bumbling brother-in-law Major Lacy. Sanders subsequently worked again with Hitchcock in 'Foreign Correspondent', and Bruce played Cary Grant's lovable pal "Beaky" in 'Suspicion'. I sometimes think that Hitchcock's 1940s movies are overlooked by many because they are regarded as being too "old fashioned", but for me movies like 'Suspicion', 'Saboteur', 'Lifeboat' and 'Spellbound' are some of the most entertaining movies Hitchcock ever made, and 'Rebecca' is the best of the lot. If you want to be totally enthralled for two hours just watch 'Rebecca'!
Haunting atmospheric treasure SPOILER ALERT
It seems almost superfluous to add to the many laudatory comments this movie has received on this site, but I feel a need to lay some tribute at the altar of this wonderful piece of classic cinema.

If you haven't seen the movie, there may be a couple of SPOILERS in this review, but hopefully also some new insights in compensation.

As many have noted, the cast is uniformly excellent: the annoying social snob Edith Van Hopper(Florence Bates), Gladys Cooper's kind, sisterly Beatrice, the eerie Mrs. Danvers of Judith Anderson, Olivier's distracted yet explosive Maxim, George Sanders' snide, oily Favell and especially the oft-times underrated second (but unnamed) Mrs. DeWinter of Joan Fontaine.

Although not entirely faithful to the Daphne Du Maurier novel, the screen adaptation preserves the haunting ambiance of Du Maurier's work. Rebecca, though never seen, is clearly the central character, but we learn about her all through indirection in the dialogue of the other characters. We are allowed to create her piece by piece in our own minds, which just adds to the engrossing, I-can't-stop-watching, thrust of the movie.

The character who actually tells us the most about the real Rebecca is Mrs. Danvers. The erotic attachment of this character to Rebecca is subtle, yet unmistakable. The wonderful scene in which Judith Anderson shows Rebecca's bedroom to Joan Fontaine is breathtaking in its suggestiveness. The West Wing, 'the only room that looks down across the lawn to the sea' has become Mrs. Danvers' private temple to Rebecca. Her loving preservation of Rebecca's possessions, her sensual handling of Rebecca's underclothes, of her diaphanous negligee, of her glamorous furs and then Anderson's almost hypnotic miming of brushing Rebecca's hair as Fontaine sits at Rebecca's dressing table all make this scene an unforgettable sequence. Anderson's acting is absolutely miraculous. She achieves her character with hardly ever a change in her affect, except where a very slight contrasting up tick in energy transforms her in the West Wing scene and in the scene where she coolly suggests that Fontaine leave-by means of a precipitous drop out of the window onto the rocks. It is a performance which I doubt could ever be duplicated.

As we later learn of Rebecca's moral character, it also seems that Mrs. Danvers was as much in love with Rebecca's corruption as she was with the woman herself. 'Danny' in a way becomes the embodiment of Rebecca's cold malevolence which still lingers in the mansion.

Joan Fontaine could hardly have been better. She, of all the characters, evolves through the movie. She moves in a seamless line from the pitiful, beleaguered companion of Mrs. Van Hopper to her drowned rat arrival at Manderley to the self-assured and supportive wife Maxim wanted and needed. What I found fascinating about this transformation is the imaginative skill of the costume designer. At the beginning, Fontaine's shy little character is dressed like she made terrible selections at a Macy's basement sale. Later as she tries to fill the role of the 'great lady' she believed Rebecca to have been, her clothes always appear too big and totally out of character. Note the black evening dress with the absurdly large flowers across the front and especially the overwhelmingly outsized Garden Party gown she tries to wear to the costume ball. After she learns the truth about Rebecca from Maxim, discovering that he actually loves her as much as he hated Rebecca, Fontaine's costumes become trim, conservative and tasteful, befitting the genuine, grown-up woman she has become.

Fittingly, the final scene belongs to Anderson-the frustrated woman robbed of her goddess--who brings the movie to a thundering operatic finish.

Although Selznick and Hitchcock repeatedly clashed over this move, it remains a deathless tribute to both men. This movie never loses its fascination and bears repeated watching, each time weaving its wonderful spell anew. It is a must-see, again and again, classic.
He's mean. She's brittle. This is a love story?
I'm forced to say I just didn't "get" or enjoy Rebecca at all. I'm sorry.

Our male hero alternates between making his love interest cry and heckling her for trying to please him. He proposes by mentioning it in a flippant and sort of insulting manner from the next room. Our female hero tries so hard to please everyone that she's constantly excusing herself and breaking down.

Sure, people like this exist in the real world. But this is not a Leaving Las Vegas story of crippled people... it's portrayed as a true love story. I find it sickening. These days, we look up to strong women, and we certainly don't want people (of any gender) constantly saying thing that are mean.

To add on top of this, I didn't feel any chemistry between the characters... declaring their love felt quite sudden, I didn't feel any real chemistry about the hero's angst about his dead wife... the whole film just seemed contrived. The scenes where the heroine isn't quite ready for rich living become repetitive, like beating a dead horse. It would feel preachy if only there were some message to preach. Finally, I'm sorry to say it, but cinematography and things like color have been in films for a long time now.

This film left me even more confused than Chasing Amy and I couldn't get all the way through it. I can see from other people's reviews that a murder mystery eventually surfaces. But hey, I did get an hour into the film without a hint of tension so I guess that all happens later. I'm forced to give it a 3 out of 10.
📹 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. 📀