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Buy Rebecca 1940 Online (mkv, avi, flv, mp4) DVDRip
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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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.
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.
Hitchcock's first Hollywood masterpiece
This classical Hitchcock's Gothic mystery irresistibly reminds of "Gone With the Wind" (same producer), and also of Jane air (screenplay is based on novel of the same name by Daphne Maurie and it's written on the model of Charlotte Bronte). This is the first Hitchcock American/Hollywood movie so it has typical British flavor, like all previous Hitchcock mysteries. It is nominated for 11 Oscars and has won 2, for the best movie and the best black and white cinematography. I wouldn't say it's one of the best movies of all time, but it surely is masterpiece.

Romance, Fear & Dark Secrets
In "Rebecca" a young woman's experiences of romance, fear and dark secrets correspond with her transition from innocence to maturity and prompt her saddened husband to reflect that "it's gone forever, that funny, young, lost look I loved won't ever come back. I killed that when I told you about Rebecca. It's gone. In a few hours, you've grown so much older". The despondency, regret and sense of loss that are embodied in these words are incredibly profound and typify the general atmosphere of gloom and melancholy that's such a strong and important feature of this extraordinary film.

During a short stay in Monte Carlo, a naïve young lady who works as a paid companion for a rich overbearing society woman meets and falls in love with an older aristocratic Englishman called Maxim de Winter (Laurence Olivier). Their relationship develops rapidly and soon the young lady becomes "the second Mrs de Winter" (Joan Fontaine) and returns with her new husband to his enormous estate in Cornwall and his huge mansion called "Manderley".

Maxim is a moody widower whose first wife, Rebecca, died in a boating accident. He's often brusque with his wife and she assumes that his sudden outbursts of anger are linked to his inability to come to terms with the loss of Rebecca. When she becomes the new mistress of Manderley, the second Mrs de Winter is soon overwhelmed by her new role and starts to feel rather isolated because of the aloofness of her staff and her husband's rather distant manner. She's also surprised and intimidated by the degree to which the spectre of Rebecca seems to be ever-present as everyone in the mansion (including Maxim) seems obsessed with Rebecca.

Mrs Danvers (Judith Anderson) is the cold, severe looking housekeeper who "adored" Rebecca and now keeps her room exactly as it was when her previous mistress was alive. Her hostility to the second Mrs de Winter is obvious from their first meeting and she does everything within her power to undermine her new mistress including trying to get her to commit suicide. The feelings of fear, inadequacy and powerlessness that the second Mrs de Winter experiences at this point are intense but soon everything changes when a sunken boat is discovered nearby with a body inside it. A whole series of revelations then follow and make it clear that so many things at Manderley were not as they had originally appeared to be.

Laurence Olivier's performance as a tormented man who's haunted by his past is very good but definitely outshone by Joan Fontaine and Judith Anderson. Fontaine's expressions and body language convey her character's timidity, uncertainty and sincerity with enormous power and Judith Anderson is convincingly evil as one of movie history's most memorable villains.

An interesting feature of "Rebecca" is the techniques that are used to make the second Mrs de Winter appear insignificant and inferior. Not only does she get cruelly dominated by her employer in Monte Carlo and consistently patronised by Maxim but she's also denied even the basic dignity of having a name. When she's first introduced to the staff at Manderley, she's made to feel uncomfortable and embarrassed because she's rain-soaked and dishevelled and visually, the distorted dimensions of the interiors of Manderley make her look physically smaller, lost and out of her depth in her impressive new surroundings.

Although Alfred Hitchcock famously dismissed "Rebecca" as not being a "Hitchcock film", it's an exceptionally good film that's very well directed with numerous touches that are characteristic of the great director's work.
Rebecca, you b****!!!
The film "Rebecca" is directed by the incomparable Alfred Hitchcock. starring Joan Fontain and Laurence Oliver. This is perhaps one of Hitchcock's if not Hitchcock's most glorious of film productions. It is loaded with all of the intriguing mysteries of life and love yet suspenseful and thrilling(no surprise coming from Hitchcock that is). There is a twist at every corner as we slowly discover who "Rebecca" truly is and the honest means of her death. watching this film is like following a deranged child through a maze. Its psychological twists are heavy but severely entertaining providing any audience with genuine shock.
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.
This is another example of Hitchcock's hatred for women. Great Movie...last century. Who likes to see a woman act and be treated like a stupid child nowadays? If you like watch people suffering for no reason but their own fault this is your movie. Or else watch "Big Brother" or similar crap.
Sucks you in totally...a high romance with astonishing sets and photography
Rebecca (1940)

Ah, to see another great movie from those few years when Hollywood peaked, when that combination of art, freshness, and sheer collaborative talent combined over and over. I'm talking from Gone with the Wind to Casablanca, 1939 to 1942. Throw in any number of truly staggering movies in the stretch--Citizen Kane for starters--and we have to almost expect Alfred Hitchcock to fit right in. With Rebecca he does. It's another perfect movie.

Daphne Du Maurier's book of the same title is a great read, something short of a literary classic but something better than a mere best-seller. I read it recently, and was completely transported into a land of subtle drama. That sounds like an oxymoron, but when you see this movie you'll notice how people act with restraint, with glances, with quiet actions, and yet achieve a grandiose, dramatic effect that tears your heart out. It's an archetypal story about a girl who seems to have a dream come true marrying a charming and very wealthy man.

But of course, there are skeletons in this man's closet, and Lawrence Olivier plays the inner struggle of Maxim close to the chest. More openly troubled by events, and so sympathetic your heart jumps out of your chest, is the girl, his wife, played by Joan Fontaine. Now here is a performance that is just incredible. She even changes her presence as her innocence slowly bleeds away from start to finish. If the two of them never quite have sparks fly, they're not supposed to.

But Hitchcock has done more than chosen a great, cinematic novel and two amazing actors (as well as a flawless supporting cast). With the most romantic, lush sets, delirious lights, and rich, layered photography, all fluidly combined to create scenes so beautiful you can almost taste it, the director has shown, again, that he understands the intuitive power of the cinema. It isn't the outward brilliance of any one scene or shot, or any one conversation that the camera follows invisibly, or any flinging of the curtains to reveal only more fog or sheer obscurity. It's the pacing and sequence of these moments that sucks you into the world and won't let you go.

Well, it's no surprise, maybe, that Rebecca won best picture and best cinematography at the Oscars. And it was up against The Letter, The Grapes of Wrath, and The Philadelphia Story, all of which are more proof that the movies of this period are a zenith of a certain kind of Hollywood. The studio system. (Yes, there are hundreds of other great movies from other years, but I'm not really trying to make my case here.) Hitchcock never won an Oscar for best director (neither did Welles), but he could have here without fault. As much as this is just a movie to get lost in and enjoy, it's also a movie you could watch over and over and study.
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.
[ spoilers].
Deliciously perverse, like reading a Mishima novel, where his fiction-- transgressive, in its own way-- describes characters operating in backward, ultra-traditional society, with all its subtleties and superficialities. The filmmaking is also excellently amoral: where a lesser filmmaker might have defaulted to making everything work out neatly and happily for the [ apparently "good"] ostensible protagonists, Hitchcock allows the medium itself to dictate the film's trajectory, and the result is satisfactory both to those who want to see the protagonists "happy," and those of us rooting for George Sanders' character and/or Judith Anderson's [ the latter's epic death scene, for example, works both ways], simply because it's -so cinematic,- and fun to watch.
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