🎦 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
iPhone 640x480 px 1348 Mb h264 1506 Kbps mp4 Download
Haunting Hitchcock.
The only Alfred Hitchcock (Oscar-nominated for directing) film to win the Best Picture Oscar, "Rebecca" is one of those typical films from the amazing director that chills, entertains and puts you on the edge of your seat each time you watch it. Joan Fontaine (Oscar-nominated) has just married the very wealthy Laurence Olivier (also Oscar-nominated), but she is haunted by his mysterious housekeeper (a show-stopping Oscar-nominated performance by Judith Anderson) and the memory of the film's titled character (Olivier's late wife). Hitchcock, noted for his subtle sexual under-tones in films spares none of that here as Anderson's character and the late titled character's relationship seemed to go much further than employee-employer. Anderson slowly tries to drive Fontaine to insanity and the end she may accomplish her devious goal. Hitchcock's first real major U.S. debut stunned the Academy and audiences alike and would lead to the coveted Best Picture Oscar. It is not the best film the legendary director ever worked on, but it is still an amazingly good production that works on many cinematic levels. 4.5 out of 5 stars.
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.
Being an avid fan of Alfred Hitchcock's films, I should rank Rebecca high on my list. It was the only of Hitch's films to win an Academy Award, winning Best Picture in 1940. However, much like North by Northwest, another fan favorite, I don't care for Rebecca. Almost everything that makes a film Hitchcock-esque seems to be missing in Rebecca. The film is full of imposing camera angles and the wonderful lighting I adore in Hitchcock pictures, but his standard care with which his narrative is formed seemed completely different. Starring Laurence Olivier and Joan Fontaine, Rebecca tells the story of a recently married couple and the self-consciousness experienced by the new bride who cannot seem to escape the shadow of her new husband's deceased first wife.

'Maxim' de Winter (Laurence Olivier) a wealthy man living in a sprawling estate meets a quiet, timid young woman who he instantly falls in love with and decides to marry. The new Mrs. De Winter (Joan Fontaine) soon learns that there is a spirit hanging over her new home, that spirit belongs to the first wife of her new husband, Rebecca. Mrs. de Winter soon becomes fully aware just how much Rebecca's memory has engulfed her husband's thoughts. There are even rooms in her home that haven't been changed since Rebecca was there. Mrs. de Winter clashes with the staff in the home, as it seems everyone is longing for the first Mrs. de Winter.

Rebecca seems less like a Hitchcock film than the sole comedy he made Mr. & Mrs. Smith. The audience wasn't thrown into the suspense like in Strangers on a Train, the tone wasn't set like it was in Psycho, it was a diligent narrative that seemed more like a John Ford film than a Hitchcock picture. The cinematography was brilliant, and more than deserving of top prize that year for George Barnes. The film itself was fine, just not at all what I expected from Hitchcock's only Oscar winner.
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.
"Rebecca" is often mentioned as one of Hitchcock's finest works. In my opinion, it's his most overappreciated film. I just don't understand what's so good about this overdramatic, fairly unhitchcockian yarn. It goes on and on and on revealing "the secrets of Manderley", and then ends quickly, almost furtively. Maybe the maestro himself didn't like the film neither, because his cameo is a really hard one to catch! Still, "Rebecca" is worth seeing at least for Judith Anderson's amazing performance as the evil Mrs. Danvers.

If you're a Hitchcock fan, take notice that Leo G. Carroll (Dr. Murchison in "Spellbound", senator Morton in "Strangers on a Train", the professor in "North by Northwest") makes his first appearance in a Hitchcock movie as Rebecca's doctor (near the end of the film).
Very slow to engage one's interest, until the last part
For me, this romantic drama didn't get very interesting until the last 40min. of a 2hr.,10min. film. However, I can say the same thing about "Casablanca", for example. This section begins with the startling revelation by Maxim de Winter(Laurence Olivier), that he detested, rather than cherished, his deceased wife: Rebecca. His young replacement wife('no name')(Joan Fontaine) had been in aw of Rebecca, as everyone praised her whit, energy, and skill as the mistress of an English manor. It's very odd that Maxim was so late telling his new wife that he hated his former wife, for several reasons. He said she was incapable of real love. She continued with her promiscuous lifestyle after they were married, although she managed to mostly hide this. She taunted him with details of her affairs and the suggestion that she was pregnant by another man. 'No name' was elated that Maxim, apparently in contrast to everyone else she had met at Manderley, despised his former wife, giving her an opening to outshine Rebecca, at least in Maxim's mind.(Incidentally, it's Manderley, not Mandalay, as a few reviewers wrote. Mandalay is a city in Myanmar(Burma)). Even a year after her death, there were still many physical reminders of Rebecca in the manor, often labeled with 'R'. Her room remained as it was when she died. Probably, this was more the policy of the head servant: Mrs. Danvers((Judith Anderson) than of Maxim. She had an extraordinary fondness for Rebecca, and often reminded 'no name' of her inferiority. At one point, Mrs. Danvers asks 'no name' why she doesn't leave, since Maxim doesn't love her. She opens the window, and suggests 'no name' may want to jump out. It's curious why 'no name' didn't fire her at this point?! It demonstrates how much Mrs. Danvers hated either 'no name' or Maxim or both. Also, during the burning of Manderley, Mrs. Danvers told 'no name' that she started the fire because she couldn't stand to see them as a happy couple in Manderley. Again, it's unclear whether her anger is directed at just one of them or both. Clearly, Rebecca hated Maxim, as he hated her, and tried to goad him into killing her, when she wanted to die because of her advanced uterine cancer. That way, presumably, she could ruin Maxim while accomplishing her goal of dying quickly. Did Rebecca and Mrs. Danvers have a common reason for hating Maxim? If so what was it? Could it be that they both hated men? Could they have had a lesbian relationship? The Production Code wouldn't allow clear evidence for a positive answer. Note that in burning the Manderley, Mrs. Danvers destroys all the remaining physical reminders of Rebecca, as well as herself. This was a suicidal act as well as an act against the de Winters.

I see practical problems with the whole business of Maxim staging an accidental drowning of Rebecca to cover up her dying from a fall on her head during their tussle. First, why did he go to this trouble? He could have reported the truth that her death was accidental. He didn't think anyone would believe him, but I don't see why not. Rebecca's body was said to be found inside the cabin of the scuttled boat. But this was a year after she disappeared and nearly as long since he had supposedly identified her body some distance from the Manderley. Her body should have completely decomposed by then. Small Flesh-eating animals could get through the holes opened in the boat bottom to sink it. Thus, identification would probably have to be through dental records. The question of how those boat bottom valves got open is also a sticky point. She could have opened them, but why go to the trouble of drowning herself that way. Also, a letter from her on that fateful day gave no hint that she felt suicidal. However, her recent report from her doctor of an advanced cancer gave a possible motive for suicide.

Why is Joan Fontaine's character nameless other than the 2nd Mrs. de Winter? She probably has more screen time than anyone else. I can only guess, because compared to Rebecca, she was looked upon as a nobody.

See it in B&W at YouTube.
Hitchcock goes to Hollywood
Alfred Hitchcock's Hollywood debut, while not likely to appeal to the same fans who champion 'Vertigo' or 'Psycho', is nevertheless a 14-karat treasure from the Golden Age of movie-making. Purists will argue that the film is more Selznick than Hitchcock: a blockbuster studio production packed with talent, prestige, and all the glamour money can buy, but certain touches (mostly those concerning malevolent maidservant Judith Anderson and smarmy playboy George Sanders) could not have been duplicated by any other director. The film today, restored to all its magnificent, pristine clarity, is suitably lush and moody, and after all these years the atmosphere of unease surrounding the stately house of Manderley is still palpable. But the Daphne Du Maurier scenario is still very much an anachronism: the innocent, unsophisticated girl who marries into wealth and tries, desperately, to conform to society's manners is hardly a valid role model these days. And once the mystery of the late Rebecca de Winter is finally solved, the Gothic plot settles into a conventional blackmail scheme more typical of the Master of Suspense.
One of Hitchcock's best films
In his long career, Alfred Hitchcock directed many great films. Rebecca ranks as one of the greatest. It was the only Hitchcock movie to win a Best Picture Oscar and it was his first Hollywood film after leaving England. This was also the first film in which he adapted someone else's work, the famous novel by de Maurier.

This film features all the twists and strange characters you would expect from Hitchcock along with the trademark unexpected ending. Sir Laurence Olivier is great, as usual, as Maximillian de Winter. The stunning Joan Fontaine is wonderful as "the Second Mrs. de Winter". Rebecca is an entertaining thriller by one of the masters of film.

The master of pulling the rug under you
"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."

Without ever being physically present or having a line in the film, Rebecca's strange influence over everyone dominates the film in a way only Hitchcock could have pulled off. I still have a lot of Hitchcock films to catch up with, but so far I haven't seen one I disliked. Rebecca is a near masterpiece and Hitchcock once again proves his craft as a director by slowly building a psychological romantic thriller and then once we are hooked with the characters he pulls the rug under our feet and delivers some surprising twists we never expected. This may not be one of Hitchcock's most popular films, but it will always be regarded for being the only film of his that won him an Oscar. Rebecca isn't his best film (which in my opinion is Rear Window), but it deserves to be ranked amongst his best work thanks to a gripping screenplay, some wonderful performances, memorable characters, and above all its beautiful black and white cinematography. It is simply stunning and despite being made in 1940 it still manages to remain incredibly suspenseful and unique. Despite knowing that Hitchcock is going to come up with an interesting twist he completely catches me off guard every time and leaves me even more engaged with his work. My only complaint (a minor one) with his films is that despite being subtle throughout the story at the end he spells everything out for the audience trying to explain the twists (Psycho is the best example of this, but in Rebecca it's done again and it makes the film drag a bit near the end, but it's only a minor complaint considering we are talking about the Master of Suspense).

Rebecca is based on Daphne Du Maurier's celebrated novel (who also wrote The Birds which Hitchcock later went on to direct) and adapted by Robert E. Sherwood. The story centers on a shy unnamed woman (Joan Fontaine) who works as a paid companion to the wealthy Edythe Van Hooper (Florence Bates). While they are in Monte Carlo she meets a wealthy estate owner named Maxim de Winter (Laurence Olivier). Edythe mentions that Maxim's wife, Rebecca, passed away an year ago in a boating incident and he hasn't recovered from it. During their short stay in Monte Carlo however, Maxim falls in love with her and the two marry within weeks of having met. Maxim takes the new Mrs. de Winter to his beautiful country home known as Manderley and introduces her to the staff. Despite being in awe of the majestic home, she feels intimidated by the housekeeper, Mrs. Danvers (Judith Anderson), who remains obsessed with Rebecca. As the days pass, Mrs. de Winter begins to feel overwhelmed by everyone's affection towards Rebecca and somehow she feels that Maxim is still very much in love with her. Rebecca's shadow seems to interfere with everything she does and she begins to feel her relationship is doomed.

Rebecca is not simply a psychological thriller centering on relationships, it is a film focusing on identity. Despite never being seen, Rebecca's presence dominates this film and she seems to have a strange effect over everyone. In contrast, the second Mrs. de Winter only gets her name once she marries Maxim and she never really has an identity of her own. She is continually threatened by Rebecca's presence no matter what she does and despite wanting to overcome it she can't because everyone seems to have adored her. Hitchcock builds the tension and suspense very subtly with memorable characters. Despite being extremely beautiful Joan Fontaine pulls off an incredibly natural and believable performance as this shy and insecure pet-girl. Laurence Oliver also plays his role as the loving but distant character very well. However the two most memorable performances for me came from the supporting cast. Judith Anderson and George Sanders play the villains to perfection. Sanders delivers some comedic relief, while Anderson's mysterious and cold face uneases us from the moment she appears on screen. The Gothic mood underlying the film mixes perfectly with the haunting ghost story as Rebecca's presence can be felt everywhere once we step into Manderley. Hitchcock has done it again.
All around, an excellent production.
his movie is a 10 from the very beginning. The casting is brilliant, the story is hauntingly beautiful, the performances are the best of what Hollywood once was, and the sets are of quality design and architecture. The direction is awesome, but it's Hitchcock, and I expect nothing less from his productions.

Rebecca is a glamorous, beautiful socialite who has won the hearts of all who knew her. Well, almost all. But a year after her untimely death, her grieving husband near his wit's end, has grown seemingly suicidal and aloof.

He engages his grief while on a trip to Monte Carlo, and meets the beautiful personal secretary and maid of a long-time friend, Mrs. Edythe Van Hopper. She is young, naive, and completely unprepared for the life which is awaiting her; all qualities which George Fortescu Maximillian 'Maxim' de Winter finds endearing.

I won't detail the events in this movie, as the story itself is quite haunting, with surprises around every turn.

This is a definite "must have" in any suspense / horror / Hitchcock / classics movie collection, and a mandatory must see for all fans of all movies.

It rates a 10/10 for its absolute perfection, from...

the Fiend :.
See Also
📹 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. 📀