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THE MOVIE: The first time I saw Alfred Hitchcock's "Rebecca" (based on Daphne Du Maurier's celebrated novel of Gothic romance and psychological suspense) in the mid-1980's, I became obsessed with it; and perhaps that is fitting. 2008 marks the first time in decades that the film has been easily available on DVD (and at a very affordable price as well: Premiere Collection, MGM/UA DVD).
Joan Fontaine stars as our heroine, a shy, non-descript, but lovely young woman who is never referred to by name in the story. (For purposes of this review, I'll refer to her character as "Joan"; when discussing Joan Fontaine's performance in the film, I'll use "Fontaine). When we first meet Joan, she is a paid companion to an old, insufferable society snob named Edythe Van Hopper (Florence Bates). Joan meets and quickly marries dour, aristocratic widower Maxim DeWinter (Laurence Olivier). At first, I cheered because the whirlwind romance and marriage saved our heroine Joan from the horrid Van Hopper. But, it turns out, she is merely going from the frying pan into the fire (quite literally). The basic plot is Cinderella's "happily ever after" gone wrong, in grand Gothic style. Once at the imposing, chilly Manderley, Maxim's family estate, Joan is promptly intimidated by the spooky housekeeper Mrs. Danvers (Judith Anderson), who was absolutely devoted to Maxim's first wife Rebecca, who died in a mysterious "drowning accident" one year ago. Joan finds herself almost completely eclipsed by the shadow of Rebecca. Memories of Rebecca are all over Manderley. Rebecca's initials are everywhere; on napkins, handkerchiefs, stationary, pillowcases, etc. Joan confides to the kindly financial manager of Manderley, "Whenever I meet anyone, I feel at such a disadvantage. I feel like they are all comparing me to her-- to Rebecca." One day, Joan wanders into Rebecca's old room in the West Wing, and has a particularly unsettling encounter with Mrs. Danvers. Although Anderson stated there was never discussion of any lesbian subtext in the story, it's impossible not to listen to Danvers' long speech about Rebecca's wardrobe, her underwear, her nightgown, her hair, etc. and not feel that Danvers had a strong lesbian attraction to Rebecca. "Do you believe the dead come back and watch the living?", Mrs. Danvers asks.
Mrs. Danvers hates our heroine Joan because she "tried to take her (Rebecca's) place".
After a masquarade party goes terribly wrong, Mrs. Danvers goes so far as to suggest (not subtly, mind you) that poor Joan commit suicide. Of course, more secrets about Rebecca and Manderley are revealed, but to reveal any more of the plot would spoil everything for first-time viewers.
Although our heroine without a name is shy and (quite understandably) intimidated by her circumstances and surroundings, there is great emotion in Fontaine's truly outstanding performance, and she quickly and easily earns audience compassion and empathy. Of the main cast, only Olivier marginally disappoints. He's stuck with not much of a role. Maxim is a very poor "Prince Charming". He's not around much in the beginning (otherwise our heroine Joan wouldn't be so frightened). Maxim is supposed to be enigmatic and moody, but the character doesn't really come to life until about 90 minutes into the movie, when Olivier gives a long speech about what really happened on the night of Rebecca's death. Next to Fontaine, spooky Anderson, and creepy cad George Saunders (as Rebecca's favorite "cousin" Jack Flavill), both Maxim and Olivier come across as rather dull here.
THE DVD: The 2008 Premiere Collection DVD edition contains several Extra Features:
* The Making Of "Rebecca": Details the uneven, but ultimately successful, partnership between methodical director Alfred Hitchcock and maniacal, control-freak producer David O. Selznick. (The "O" didn't stand for anything. David just added it for extra flourish). Although "Rebecca" was Hitchcock's first American film, he had already directed such British classics as "The Lady Vanishes" and "The 39 Steps." Hitchcock was definitely not a novice, and he resented Selznick's obsessive demands and interference. Fortunately, Selznick became obsessed elsewhere; with finishing "Gone With The Wind." That epic won the Best Picture Oscar for 1939. When "Rebecca" won the same honor in 1940, Selznick accepted the Oscar. Hitchcock did not win as Best Director. (He, inexplicably, NEVER did)! Therefore, he always referred to "Rebecca" as a "Selznick Picture." Trust me, "Rebecca" is also very much a "Hitchcock Picture."
*SCREEN TESTS & RADIO PLAYS": Margaret Sullivan (whose awful screen test for the film is included) stars with Orson Welles and Agnes Moorehead in a 1938 radio "Rebecca", which pre-dates the film by two years. The second "Lux Radio Theatre" version from 1941 stars Ida Lupino. Last, we have a radio version from 1950. starring Olivier and his then wife Vivien Leigh. Olivier was unhappy with Fontaine's casting in the film. He wanted Leigh as his co-star. Their joint 1939 screen test is included. Vivien Leigh (not quite finished playing fiery Scarlett O'Hara in "GWTW) shows more spark and life than Margaret Sullivan, but Hitchcock and Selznick definitely made the right casting choice with Fontaine.
*THE GOTHIC WORLD OF DAPHNE DU MAURIER: Explores the relationship between her private life and writing. Also included: Audio commentary by film critic Richard Schnikel, Isolated Music and Effects Track, Hitchcock audio interviews, Theatrical Trailer, and Photo Galleries.
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