Rebecca

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Tim M @tgmacman Jan 29 Easily one of Alfred Hitchcock's most poignant films, Rebecca possesses an unmistakable sense of atmosphere and pathos. See more Christian K @ckacar Jan 21 Enjoyed the style and direction and it's loaded with great performances. Unfortunately, I had real problem believing and watching the central performance but it didn't detract too much from the fun, twisty last 30 minutes. See more Allan C Jan 11 Hitchcock’s Rebecca is a moody, gothic departure from his usual suspense-driven style, relying instead on atmosphere and psychological unease as a timid young bride is overshadowed by the lingering presence of her husband’s dead first wife. Joan Fontaine gives her finest performance, while Judith Anderson’s Mrs. Danvers is one of cinema’s most chilling villains. Despite a somewhat tedious final act and miscasting of Laurence Olivier, the film remains a haunting American classic and a Hitchcock standout. FULL REVIEW HERE: https://letterboxd.com/film/rebecca/ See more Alec B @AlecMichaelB Nov 19 Hitchcock’s Rebecca is a hypnotic blend of gothic suspense and emotional unease, anchored by Joan Fontaine’s haunting vulnerability and Laurence Olivier’s icy charm. The film’s shadow-soaked atmosphere and slow-burn tension create a world where every whisper feels like a warning, and Mrs. Danvers remains one of cinema’s most chilling presences. More psychological ghost story than thriller, Rebecca endures as a masterclass in mood, restraint, and the terror of the unseen. See more Ted B. @Movieaddicted Nov 10 4.0 stars; The classic Gothic romantic film. Only Alfred Hitchcock could add the high level of tension and suspense that would lift it to the level of an Academy Award (his only one). The acting was superb, with Laurence Olivier and Joan Fontaine in the lead romantic roles. Dame Judith Anderson gives an inspired, scary performance as the sinister house mistress. See more Glafira Regina O @Glafira_Regina Aug 11 An unnamed young artist, serving as a companion to an eccentric lady vacationing in Monte Carlo, meets wealthy widower Maxim de Winter, whose wife died about a year earlier. Maxim can be brusque and prone to flashes of anger, yet he draws her in. Eventually, they marry, and she moves into his ancestral estate, Manderley. But the oppressive atmosphere of the unfamiliar surroundings—and the lingering, invisible presence of her predecessor Rebecca—begin to weigh heavily on her. Everyone seems to remember and miss Rebecca: the servants, Maxim’s relatives, even casual acquaintances. Beneath the façade of a happy marriage lies only loneliness in a dark mansion. It’s not a spoiler to say there are no ghosts here—Hitchcock never truly dealt in the supernatural. But they aren’t needed. Human stories of unrequited loyalty, fear, insecurity, and isolation can be far more frightening than the most menacing specters, demons, or monsters. Rebecca proves this brilliantly. The woman herself appears just once, as a portrait, yet her presence is felt everywhere: in the furtive glances of servants and guests comparing the new Mrs. de Winter to the old, in her possessions, in the accounts of an eccentric housekeeper, a simple-minded worker, and other unsettling characters who seem eerie and unnatural—evoking a kind of uncanny valley. Maxim himself grows increasingly remote and tense in the heroine’s eyes, erasing the kindness she once saw in him. Loneliness among those who subtly (or openly) reject you is truly terrifying. And it perfectly matches the rules of classic gothic fiction, which was less about supernatural horror and more about illuminating human flaws. The rest… would be spoilers. Naturally (this is Hitchcock, after all), the film is exquisitely shot and acted. Joan Fontaine is stunning as the timid, nervous heroine. Laurence Olivier is entirely convincing as the strained, broken Maxim. Judith Anderson, as the infernal and enigmatic Mrs. Danvers, gives new depth to the “eccentric housekeeper” archetype. George Sanders shines as the typical slick opportunist you might find in a noir thriller of the time. These are characters you won’t easily forget. As for the visuals… an Oscar for cinematography isn’t handed out lightly. The frames are gorgeous. Interestingly, almost all are portraits—there are very few landscapes (at least half the film unfolds inside the mansion) and few still-life shots. This is a story about people, and the cinematographer focuses entirely on them—bright, eccentric, and wildly different—and shows them beautifully. Hitchcock is a recognized master of suspense, with many masterpieces to his name. But Rebecca is a strong contender for his most psychological and atmospheric work. Psychology is a delicate craft, and few directors can convey it so powerfully—without jump scares, without action, but simply through dialogue and glances. A purely human story, yet scarier than many horror films. See more Read all reviews

Rebecca

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