🎦 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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Entertaining thriller
A naïve young woman (Joan Fontaine) is in Monte Carlo working as a paid companion to Edythe Van Hopper (Florence Bates) when she meets the aristocratic but brooding widower Maximilian "Maxim" de Winter (Laurence Olivier). They fall in love, and within two weeks they are married. The young woman is now the second "Mrs. de Winter."

Maxim takes his new bride back to Manderley, his rather large country house in Cornwall. The housekeeper, Mrs. Danvers (Judith Anderson), is domineering and cold, and is obsessed with the beauty, intelligence and sophistication of Maxim's dead wife Rebecca, the first Mrs. de Winter, preserving her former bedroom, the master suite, as a shrine. Although dead, Rebecca's presence is nonetheless pervasive - several things throughout the house - stationery, handkerchiefs, bed linens, even the master bedroom door - bear her ornate "R" or "R de W" monogram. As her closest confidant, Mrs. Danvers regularly comments on Rebecca's exceptional grace and style. When asked what Rebecca was like, Frank Crawley (Reginald Denny), Maxim's best friend and manager of the estate, absent-mindedly tells the new Mrs. de Winter that Rebecca was an exceptional beauty.

The new Mrs. de Winter is intimidated by her responsibilities and begins to doubt her relationship with her husband. The continuous reminders of Rebecca overwhelm her; she believes that Maxim is still deeply in love with his first wife. She also discovers that her husband sometimes becomes very angry at her for apparently insignificant actions. She also meets Rebecca's so-called "favorite cousin," Jack Favell (George Sanders), who visits the house while Maxim is away.
Haunted as the second woman
Hitchcock movies are known around the world for a reason, they're really good, acting wise, director wise, and cinematography wise. The whole story was acted out wonderfully by Olivier and Fontaine, Oliver played the mysterious handsome man well, and Fontaine was believable as a naive girl who fell for the looks. There were so many instances of great cinematography unique to Hitchcock films, playing with light and shadow to really tell the story along with the dialogue to make everything come together. Alfred Hitchcock as the director definitely left his mark on this movie, since I saw it was adapted from a book, and not created by him, he made it his own with great directive vision.
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".
Hitchcock & Selznick's Superb du Maurier Adaptation
"Last night I dreamed I went to Manderlay again..." and so begins one of the most captivating films from Hollywood's golden era. A superb adaptation of Daphne du Maurier's best selling novel, "Rebecca" was Alfred Hitchcock's first American directorial assignment, although producer David O. Selznick's strong influence is evident. While lacking the color and historical spectacle of "Gone with the Wind," Selznick's follow-up to his 1939 blockbuster shares lush production values, a thickly romantic atmosphere, and flawless performances with its illustrious predecessor. Both classics were adapted from popular novels, and both won Academy Awards for Best Picture.

Du Maurier's well known mystery centers on a never-seen, but exquisitely beautiful and admired woman, Rebecca, who dies tragically before the story begins; however, she casts a dark shadow over her husband, his young second wife, and Manderlay, a stately seaside estate in Cornwall. The mystery-romance unfolds before George Barnes's Oscar-winning camera work, which emphasizes velvety blacks, window-cast shadows, and rainy reflections on a grandfather clock. Franz Waxman's lush score weaves its own web throughout the film with an appropriate mix of romantic themes and suspense.

In front of the camera, Hitchcock drew memorable performances throughout. Sporting a mustache and a touch of grey, Laurence Olivier embodies the handsome Cornish aristocrat, Maxim de Winter; smooth, cultured, refined, and harboring a dark secret. With a voice born for sarcasm, George Sanders steals his scenes in a snide, cunning performance as Rebecca's "favorite" cousin. Mrs. Danvers ranks among cinema's most beloved villains, and Judith Anderson is cold, impassive, and riveting. Also called "Danny" in a sly allusion to her lesbian infatuation with the title character, Anderson excels in a restrained, yet hypnotic scene, where she fondles Rebecca's furs and caresses her lingerie; the actress says everything that the Production Code forbade about Danver's relationship with Rebecca. Florence Bates is another scene stealer as Mrs. Van Hopper, Joan Fontaine's employer; selfish, self absorbed, catty, and unforgettable. In support, Selznick sprinkled in such veterans as Gladys Cooper, Nigel Bruce, Reginald Denny, C. Aubrey Smith, and Leo G. Carroll to fill out an exceptional cast.

Although easily overlooked among the bounty of rich performances and skilled thespians, Joan Fontaine's portrayal of the second Mrs. de Winter is exquisite throughout. Still in her early 20's, Fontaine's subtle growth from shy insecure travel companion, dominated by her overbearing employer, to self-assured supportive wife is masterful and never calls attention to itself; on a subsequent viewing, fans should focus on Fontaine throughout and marvel. While Fontaine grows as a woman, she also becomes closer to Olivier as the story unfolds; initially, Olivier kisses her chastely on the forehead, retains a distance between them, but, as the secrets spill, Olivier reaches out to her and, eventually, they kiss on the lips.

Hitchcock's final image in "Rebecca" foreshadows that in "Citizen Kane." A silk pillow embroidered with an "R" is consumed by flames; a year later, Orson Welles ended his masterwork with a sled emblazoned "Rosebud" also engulfed in flames. Like the Welles classic, "Rebecca" is a timeless film that bears repetition. Despite familiarity with plot and ending, the film is like an old friend, and a return to Manderlay is always cozy, comfortable, and welcome.
Proof people praise what is expected to be praised
There are two moments of cinematic greatness in this film. 1)The home movie scene, and 2)the scene involving Danvers manipulating Joan Fontaine after the costume ball. But though these memorable instances attempt to cajole us into admiration during the viewing, the overall product beckons us to reexamine our initial wooing. There are a few other moments of atmospheric success, and Fontaine's initial arrival and exploration of Manderlay and its characters is interesting, but otherwise, the film is often mediocre, and sometimes even poor. Laurence Olivier is very stale and does not exude much of a presence, nor a riveting sense of charm. Fontaine is better, but her character is completely over-the-top. She seems well adjusted and interesting at first, then does nothing but shake and stand with lost eyes for the rest of the film. I know the situation is supposed to bring about such behavior, but it is just too much. The chemistry between the two characters is horrible. Perhaps that is supposed to demonstrate the awkwardness in their relationship. But, then we find de Winter really does love her, and he hates his dead wife. So while his madness translates well, his supposed love for her never does. Not even at the end. And hers for him feels impossible to get our heads around, since he never does anything but be rich and handsome to impress her. I know, I know, those are the dynamics of the relationship, and some of them are more subtle (e.g. de Winter probably goes for her because she seems sexually tame and timidly obsequious), but it still does not feel right in the end. The characters' actions are too shortsighted for the overall plot.

The film often has no momentum, and drags on forever. The entire opening courtship can be eliminated since it is not efficacious in convincing us of much romance anyway. Then there is the second part, where Fontaine slowly learns the secrets of Manderlay, and though this probably is the best part of the film, it still never feels like it is building to a climax, even though every scene attempts to convey a bit of foreboding intrigue. Instead, it becomes monotonous; precisely because every scene is exactly the same. The end feels like it should approach soon after Danvers diabolical rant. Then there is Olivier's admission, and it feels like it should come again. But again it doesn't, and when the ending finally does come, it is of such an enormous magnitude that it feels too brief.

Then there is the story, which I believe has a couple of plot holes, and realistic dilemmas, though I cannot say with absolute certainty. The film has a chance, but not without a reassessment of the script. Another chance at astonishing greatness blown.
Alfred Hitchcock at his finest
Brilliantly edited and photographed filming of the famous Daphne du Maurier novel. Because other films of this era are today available in technicolor and this one only in black and white although it seems technicolor might be preferable on a reissue the artful brilliance of the photography and editing in capturing the mood and setting of the novel display Hitchcock at his most brilliant. Judith Anderson, Joan Fontaine, Laurence Olivier, Nigel Bruce, George Sanders, Gladys Cooper and Florence Bates seem most memorable among the strong from top to bottom cast. The argument less of the story is filmed than in the two still available today on DVD remakes seems of less importance than a stunning film which visually and aurally holds your interest in total delight and enticement from beginning to end.
Haunted by the Past
In Monte Carlo, the shy and naive lady's companion (Joan Fontaine) of the snobbish Mrs. Edythe Van Hopper (Florence Bates) meets the wealthy widower aristocrat Maxim de Winter (Laurence Olivier) in the hotel while her employer is ill. They spend many days together and they fall in love for each other. When the youth is ready to travel to New York with Mrs. Van Hopper, Maxim proposes her and they get married to each other. The now Mrs. de Winter discovers that Maxim is disturbed with the loss of his first wife Rebecca, who died when her boat sank with her alone nearby his manor Manderlay. They travel to Manderlay, where Mrs. De Winter has a cold reception from the housekeeper, Mrs. Danvers (Judith Anderson), who worshiped Rebecca. Along the days, the humble Mrs. de Winter is frightened by the omnipresence of perfect Rebecca through the arrogant Mrs. Danvers. However, when the boat of Rebecca is found with her body trapped in the cabin, Mr. and Mrs. de Winter are haunted by the past.

"Rebecca" is probably is one of the most famous movies of Alfred Hitchcock in his earlier career, with a suspenseful romance with many surprises and twists. The performance of the fragile Joan Fontaine is amazing with her innocent expression and clumsy attitudes in an aristocratic world that does not belong to her, a simple working class young woman. Inclusive her character does not even have a name. Laurence Olivier makes a couple without chemistry with Joan Fontaine, in the role of a millionaire with a shadow from the past. The introduction, with Joan Fontaine telling her dream, misguides the viewers and I expected a different fate for the lead couple. George Sanders is the perfect scumbag and Judith Anderson performs a creepy character that might be homosexual grieving a non-corresponded love with Rebecca. The cinematography in black-and-white is very beautiful but the DVD released by the Brazilian distributor Continental is not remastered. My vote is nine.

Title (Brazil): "Rebecca, a Mulher Inesquecível" ("Rebecca, the Unforgettable Woman")
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.
Joan Fontaine portrays a pre-Feminist Clueless Doormat !!!
I give this film a 7.5 on a 10 point scale. All of Hitch's films, though mostly good, have screenplays that are just unbelievable & improbable to some degree and "Rebecca" is certainly no exception. Fontaine's character is S-O-O Weak, Naïve, Passive, & Fragile that it lacks credibility. NO Woman, even in pre-Feminist times, could possibly be as much of a Clueless Doormat as the new Mrs de Winter. That as the new mistress of Mandalay she would have kept that witch Mrs Danvers as the housekeeper is at least very unlikely, especially when Danvers tricked the new Mrs de Winter to wear that dress for the ball. The Mrs Danvers character was rather unreal too. She was much more a caricature than a believable character. Otherwise, a very suspenseful, & well thought out storyline, with great dramatic tension, although the "dramatic" was much too "melodramatic" in my opinion. How a great director like Hitch got stuck with so many sub-par screenplays is beyond my comprehension.
📹 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. 📀