With the arrival of autumn, the cold has also arrived. So we propose a perfect plan for this weekend. For those moviegoers like us, an afternoon at the movies is the perfect plan, however we don’t always feel like going out and as an alternative we opted for the “Plan P”: Movie, Pizza, Popcorn and Pajamas.
On this occasion and the next premiere for Netflix, on October 21, of the new adaptation of the film “Rebecca” made by director Ben Wheatley and based on the original novel of the same title by Daphne du Maurier, we invite you to enjoy the 1940 film classic by Alfred Hitchcock, produced by David O. Selznick and scripted by Robert C. Sherwood.
Rebecca is a thriller with overwhelming plot and psychological power, starring Joan Fontaine and Laurence Olivier, and it garnered 11 Academy Award nominations, of which it won Best Picture and Best Cinematography.
The story of Daphne du Maurier develops the tragic experience of a young wife (Joan Fontaine) who lives in the shadow of the memories of the first wife of the potentate Max de Winter. Concerned about her husband’s continued bad mood for the ex-wife, the new Mrs. De Winter gradually reconstructs the tragedy of the previous marriage to finally find marital bliss when the heavy secret of Rebecca’s death is lifted from Olivier’s shoulders.
Alfred Hitchcock, the unforgettable English director, conducts his first American production with shrewd assurance and an exceptional understanding of the motivation and mood of the story’s components. A prodigy of narrative tension and a collection of disturbing, magical images that make the viewer feel in a palpable way the presence of an always absent character, Rebecca. The film is a very faithful adaptation to the literary work, which gives a very romantic appearance to the film as a whole and in which, despite being a mainly psychological story, Hitchcock adds his important characteristic quota of suspense.
Olivier offers an impressionable portrait as Manderley’s owner, unable to shake off the memory of her tragic first marriage as she tries to secure happiness on her second adventure. Joan Fontaine makes an excellent performance as a second wife, going through the transition from a sweet and lively girlfriend, to that of a bewildered woman marked by the previous tragedy, which she has trouble understanding.
In addition, the plot features an extraordinary cast that pays special attention to individual abilities. Judith Anderson plays the sinister housekeeper, Mrs. Danvers, a confidante of the late First Mrs. Winter, the omnipresent in her memory, Rebecca. George Sanders, admirable in his portrayal of the despicable Jack Flavell; and Reginald Denny, the property manager and friend of Max de Winter, and Florence Bates, the romantically inclined widow round out an upscale cast.
“Last night I dreamed I was going back to Manderley. I was in front of the gate, but could not enter because the path was closed. Then, like all those who dream, I felt possessed of a supernatural power and like a spirit I crossed the barrier that rose before me (…) ” The sublime start of the film is already part of the history of cinema. Romance, suspense, psychological thriller and to a certain degree of humor in its maximum expressiveness and accentuated with great success in black and white make Rebecca an absolute masterpiece.