1940 Directed by Alfred Hitchcock
Story of a young woman who marries a fascinating widower only to find out that she must live in the shadow of his former wife, Rebecca, who died mysteriously several years earlier. The young wife must come to grips with the terrible secret of her handsome, cold husband, Max De Winter. She must also deal with the jealous, obsessed Mrs. Danvers, the housekeeper, who will not accept her as the mistress of the house.
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 Philip Winter Forrester Harvey Bunny Beatty Billy Bevan Egon Brecher Gino Corrado Alfred Hitchcock Leyland Hodgson Alphonse Martell William H. O'Brien Ronald R. Rondell Phyllis Woodward
Rebeca, una mujer inolvidable
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what made this great for me was joan fontaine’s character having no name, being referred only as darling or mrs. de winter, which ends up making an incredible contrast with the almost ghostly and overly mentioned rebecca. you know you’re that bitch when you cause all this conversation
One of the finest psychological thrillers of its or any other time, Rebecca is an expertly crafted gothic tale by Alfred Hitchcock that tells the story of a woman who's constantly haunted by the presence & reputation of her husband's first wife, Rebecca, when she moves to his large country estate and finds herself constantly in clash with the housekeeper, Mrs. Danvers, who was extremely fond of Rebecca.
Engaging from its opening moments, the film takes the road of romance in its first act but soon turns into an extremely gripping suspense that even managed to touch the genre of horror with its carefully structured narration. Brilliantly directed by Hitchcock who maintains a remarkable control over each frame from start to…
"In a few hours, you've grown so much older..."
1am takeaways:
1. add this to the list of masterpieces that do marriage no favors
2. laurence oliver was the most beautiful human being alive
3. the cinematography will haunt my dreams and im absolutely okay with that
if you see me in my dead mistress’s bedroom in the vacant west wing of manderley carefully caressing her custom nun made lingerie…mind your business
A haunting so complete, so traumatic, so deeply malicious that it works to erase its own existence as anomaly in order to re-establish itself as natural phenomena. Not only that, it erases the presence of others so thoroughly they literally lack an identity, an existence which begets the process of becoming overridden by remnants of the past, a reverse-osmosis in which what should be a definable thing becomes an anonymous nothing by being absorbed into its surroundings. The parasitic twin, inverted.
“A portrait of a lampshade upside down to represent a soul in torment!”
One of the best gialli ever made.
