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Rebecca

Diana Rigg, Charles Dance, Faye Dunaway, Emilia Fox (Actor), Jim O'Brien (Director) Rated:
Unrated
Format: DVD
IMDb7.3/10.0
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About PBS

PBS and our member stations are America’s one of the largest classroom, the nation’s one of the largest stage for the arts and a trusted window to the world. In addition, PBS's educational media helps prepare children for success in school and opens up the world to them in an age-appropriate way.

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Product Description

Based on the gothic romance novel by Daphne Du Maurier. Starring Anthony Bate.

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ Unrated (Not Rated)
  • Product Dimensions ‏ : ‎ 0.6 x 5.3 x 7.5 inches; 2.72 ounces
  • Item model number ‏ : ‎ 2258437
  • Director ‏ : ‎ Jim O'Brien
  • Media Format ‏ : ‎ Multiple Formats, Color, NTSC, Closed-captioned
  • Run time ‏ : ‎ 3 hours
  • Release date ‏ : ‎ February 25, 2003
  • Actors ‏ : ‎ Diana Rigg, Charles Dance, Faye Dunaway, Emilia Fox
  • Studio ‏ : ‎ PBS
  • ASIN ‏ : ‎ B00008DDRZ
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:

Customer reviews

4.4 out of 5 stars
4.4 out of 5
643 global ratings
Rebecca
5 Stars
Rebecca
This is a different version of Rebecca. I love the story and have other versions. This moves has several major stars. With good acting, sets and clothes. It also shows a different ending. I enjoyed this movie very much.
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Top reviews from the United States

Daisy's mum
5.0 out of 5 stars Great version of the story, more realistic characters
Reviewed in the United States on May 22, 2016
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The Hitchcock movie, "Rebecca", with Laurence Olivier, Joan Fontaine, Judith Anderson, and the always-mesmerizing George Sanders, is a five-star classic, so I felt at first as if I should give this filmed version four stars.

But, y'know -- we really like this version here, especially as it's a bit closer to the book, and more fleshed out in certain sections. It also doesn't seem to drag out things until important elements are revealed, as does Hitchcock's movie -- this slightly more modern take, with less quaking and nerviness of the female lead, is appreciated by a few of the males here, who, upon first view of the Hitchcock "Rebecca" some years ago, started saying things like, "Jeesh ... when is something going to HAPPEN?" They're not off the beam -- in the classic film, it's quite a chick flick as the characters and settings unfold. The undercurrents and threat of Hitchcock's telling of the tale is fabulous, with a fantastic climax, however, repeat viewings (worth it!), clearly make the viewer feel impatient to get to the uncovering of realities.

In this version, the plot moves along to denouements a bit more quickly, and more thoroughly, and the ambiguity of how life and people are perceived by the main character, the innocent girl, is more clearly seen (in retrospect, if this is a person's first exposure to the story). And that's a primary theme -- that unless one get's out of one's own head and probes the mysteries of life and relationships more, one doesn't find truth. All that old fashioned British reserve is frustrating.

It doesn't hurt that there are a few short scenes filmed that show the romance and intimacy of Maxim and his second wife, albeit still PG-13 style. Also, Emilia Fox's performance seems closer to the character as it's portrayed in the book, and her looks, demeanor, and youth fit better to the second Mrs. DeWinter as drawn by Daphne Du Maurier -- even though Fontaine was wonderful in her portrayal, the youth of Fox just fits the bill better. Charles Dance also seems to be cast exactly right -- his version of Maxim is terrific. It just seems as if this production had an overall better script, and some updating to the style of the story, that makes it just work -- for these times, anyway. Also, the little coda of the ending is nicely done, and satisfying.
23 people found this helpful
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Gabrielle Eden
5.0 out of 5 stars English put novels to film
Reviewed in the United States on September 3, 2022
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In the 90s mainly the British were making movies of all their great novels and airing them on masterpiece theater. I was working for public tv in the 90s. This is Daphne du maurier's novel who liked to write about bad women. It was Hitchcock's film noir. Their remake is great! Creepy maid, as in original.
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Happy Packrat
5.0 out of 5 stars Rebecca Never Fails to Please
Reviewed in the United States on September 11, 2005
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I purchased this DVD to replace one that I had purchase many years ago in the VHS format. This is family entertainment as it should be.

This WGBH version of Daphne du Maurier's Rebecca is one of my all time favorites. It was a great novel and here it has become a great DVD.

To me, it is a timeless story of love, passion and identify. GBH has added exceptional acting, beautiful scenery, period costumes as well as memorable music to create a motion picture classic. I particulary liked Dianna Riggs's peformance as a haunting and manipulative Mrs. Danvers, but the rest of the cast was equally talented and accomplished. WGBH's Rebecca is good entertainment for the entire family. You can't go wrong with Rebecca.
9 people found this helpful
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Petesweet
5.0 out of 5 stars So much better than the Hitchcock version, in my opinion
Reviewed in the United States on June 30, 2014
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I love a good love story, and I love Charles Dance. So here I have both. And I also love DuMaurier.

I watched this twice as soon as I received it. Then I decided to compare it with the Hitchcock version, but I could barely tolerate that. I hate the old acting style - overly dramatic and not natural. This version corrected that.

After watching the old version, I reread the book and then watched this new version again (third time!).

Later this week a friend is coming over to watch this version again with me. I can hardly wait!!
5 people found this helpful
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Teresa R.
1.0 out of 5 stars They Ruined this classic with unnessessary nudity!
Reviewed in the United States on August 28, 2021
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I was sure looking forward to a newer version of REBECCA, and was shocked to see nudity and the newlyweds in bed together. The original REBECCA was so tastefully done, and didn't need any smut to make it a classic. If you redo a classic, don't cheapen the movie with totally unnessesary nudity and sexual content. I'm not a prude, but this really pissed me off, and I threw the movie in the trash. If you like smutty scenes added to your classics, then this is the version for you.
3 people found this helpful
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jonathan
4.0 out of 5 stars Well done; however, not true to the book
Reviewed in the United States on November 2, 2023
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I advise read the book then enjoy the movie, the movie is not true to the book and takes liberties with the story line and the characters personalities. I could do without the graphic love scenes between the narrator and Maxim. The movie ending was all wrong and Daphne did a much better job of presenting the finale in the book. Only improvement was the evil Favell character in the movie
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Plavallee
5.0 out of 5 stars Interesting!
Reviewed in the United States on March 29, 2022
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It's interesting and has good acting. Good weekend movie to watch!
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Classic Romantic
5.0 out of 5 stars Rebecca
Reviewed in the United States on December 26, 2011
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I have seen the old Hitchcock B&W and now have seen the newer version. The new movie is great and the color adds a lot to the scenery, etc. Also, the new version actually follows the book summary closer than the old. Rebecca was actually killed by her husband when she drove him to it. But in the story, she was shot rather than strangled. I would recommend it.
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Top reviews from other countries

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Corina Galos
5.0 out of 5 stars Very well done
Reviewed in Canada on February 23, 2024
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Good version of the book and good performances by the actors.
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Hans-Jürgen Evers
5.0 out of 5 stars DVD
Reviewed in Germany on March 4, 2024
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alles ok
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Keerstock Madeleine
3.0 out of 5 stars supptrddions
Reviewed in France on March 28, 2022
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Le DVD est bon mais beaucoup de scènes coupées par rapport au script original dommage....
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ca
5.0 out of 5 stars ottimo film, suspense assicurata.
Reviewed in Italy on May 14, 2016
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Tratta dal romanzo omonimo di Daphne du Maurier questa trasposizione televisiva é molto coinvolgente. All' inizio c' è la bella storia d'amore di una giovane Cenerentola (così viene apostrofata la protagonista anche nel film) con un maturo e facoltoso nobile inglese, ma ben presto la novella sposa dovrà fare i conti con l' ingombrante ricordo della prima moglie di lui, Rebecca appunto, che in molti rimpiangono. L' atmosfera si fa mano a mano più sinistra ma il finale giunge inaspettato... Chi ha letto o visto il film:"Jane Eyre" si renderà conto di alcuni parallelismi fra le due opere. In inglese con eventuali sottotitoli in inglese, nessuna lingua italiana.
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J. L. Sievert
5.0 out of 5 stars Cornish ghost story
Reviewed in the United Kingdom on November 29, 2015
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Rebecca was spoiled, selfish, willful, manipulative, hedonistic and heartless. We never meet her directly in this famous story by Daphne du Maurier, but the power of her personality and her actions in life linger long after she is gone, the victim of a drowning accident off the Cornish coast. Or was it truly an accident? By the end of the story and film (both of which are named after her) we find out.

People were to Rebecca as chess pieces are to a player — objects of potential gain and power to be manoeuvred and used for self-aggrandisement. She was adept at playing too, using camouflage, feints, false moves and other forms of deception to conquer her adversaries, the aim of which was to get her way. She usually did, her opponents disarmed by her beauty, charm, wit and false sincerity.

Maxim de Winter, a wealthy young man, did not know he was Rebecca’s opponent. He thought he was her lover and she his. He thought they loved one another, which is normally what lovers think and do. They met when he was in his early twenties, a time when passion and desire are frequently mistaken for love. So, bewitched by this young dark-eyed beauty, he was drawn to her and prepared to give her everything, which, as it happens, is exactly what she wanted.

The love, courtship, proposal, marriage and honeymoon occurred quickly. Before he knew it Maxim was married. These events occurred in Monaco, not in England: there where the Mediterranean light is bright, intense, baffling, blinding. It gave him heatstroke or something like it. This would be his view later on when he was able to look back clearly at events. Five days after their marriage Rebecca laid down the law. She told Maxim precisely what their terms of engagement would be, what she expected from him (a lot) and what he should expect from her (very little).

She said this to him:

“I’ll make a bargain with you. Of course I’ll look after your precious Manderley [Max’s large family estate and grounds in Cornwall]. I’ll make it the most famous showplace in the country. They’ll say we are the happiest, luckiest, handsomest couple in all England. What a triumph. Oh, what a leg pull. What a wonderful, marvellous joke! You’ll go along with it Max. Of course you will. Anything for the pride and honour of your good name and Manderley. Of course you will.”

She was right. He did. He was a coward, or so he told himself. He couldn’t face the humiliation of what he had done, admitting his mistake to the world. She knew this because she also knew no one would believe him. Everyone was charmed by Rebecca. Everybody loved and admired her, and none ever suspected she despised them all. In modern parlance we would say she was self-loathing and self-destructive. Her cynicism, narcissism and misanthropy stemmed from this. If she couldn’t accept and respect herself, how could she accept and respect others? So everything became a game for her, a ruse and passion play with she the star of the show.

But this happened half a lifetime ago, long before her death. Events in the film open in 1927 in Monte Carlo. Max is middle aged now, perhaps 46 or 47. He has come back to Monaco for the sun, the surf, and to be far away from England, or far enough away. Rebecca died some months ago, perhaps nine or ten. They knew her well here in Monte Carlo. She was an extrovert, a socialite, and even in middle age still a dark-haired, dark-eyed beauty, more Spanish or Italian-looking than English. Max is well known too, especially with the English set, so everyone knows he’s a grieving widower. Grieving, yes, but not for Rebecca. It’s mainly for himself, for the wasted and lost life he feels his to be.

That is, until he meets Caroline. She is young, perhaps 22 or 23, which is to say half his age. She’s also quiet and modest, kind and thoughtful, gracious and attentive, respectful and deferential. Max sees and senses all this and is charmed by her lack of pretence. She’s what’s known, or used to be known, as a good girl: well-bred, soft spoken, sincere, generous in spirit. There’s also a touch of sweetness and innocence about her, girlish qualities Max clearly notices and adores. She is Rebecca’s opposite, the kind of woman he should have had all along. She also looks nothing like Rebecca. Although very pretty, she is not flamboyantly beautiful. She’s small boned, thin and fair. She has blue eyes, pale skin, and straight light-brown hair cut short in the fashion of the day (just above the shoulders).

She’s the paid companion of a garrulous and boorish American socialite — Mrs. Van Hopper. The elder woman is lonely and middle aged, possibly a widow, or perhaps never married, her mission to find a rich husband in Monte Carlo.

Max de Winter enters the dining room. Mrs. Van Hopper knows him, or knows of him, and sends an invitation note to his table via the waiter. Max accepts, but not to socialise with Mrs. Van Hopper. It’s the quiet and demure Caroline who interests him, though he doesn’t hint at this.

Next morning Mrs. Van Hopper is sleeping late and not feeling well. Caroline comes down for breakfast on her own. Breakfast is served at the outdoor patio tables. Max is seated alone at his table. He sees that Caroline is alone as well and invites her to sit down. She does. Then over breakfast they converse politely and pleasantly. She’s not used to this. First, to being noticed at all. Second, to having a gentleman of Max’s standing show interest. But his interest is acute and genuine. She’s perceptive enough to realise it, even if she can’t know why. One might say her confidence is low due to a lack of experience with men. That is the impression one gets. She mainly listens and smiles; he largely speaks and watches. If she is free in the afternoon, he has a motorcar. Would she like to join him for a lovely cliffside view of the sea from the mountains to the north of them? She says she would. The air is fresh and breezy. They drive in the sun and look content and happy. Later she lies when Mrs. Van Hopper asks how she has spent her day. She played tennis all day, she says, unsure of what else to say.

The pattern repeats itself for the next few days: drives in the mountains, views of the sea, chats over coffee. Max reveals little of what he’s feeling, but she knows he likes her. Meanwhile his attentions are affecting her deeply — deeper than she would have at first suspected they could. She’s falling in love and frightened for it, scared of what it means and sad at the thought of it going unfulfilled. But Max is the same, though without the fear. He wants to declare himself but holds back.

Crisis is what brings them together. Mrs. Van Hopper suspects Max’s affection for Caroline, feels jilted and jealous, declares that Monte Carlo is finished and that they’ll sail for New York soon. Caroline is devastated. She goes to Max’s room to deliver the bad news. Time is of the essence, so, having none to waste, he proposes to her. It reminds me of Edward Rochester’s proposal to Jane Eyre in the garden at Thornfield Hall. Like Jane, Caroline is astonished. Looking into his eyes, she tries to read his face and thoughts. “Don’t play with me” are what both young women feel. But both men are desperate and earnest, even if neither can reveal their hidden passion. Max simply says it’s New York with Mrs. Van Hopper or England and Manderley with him. She chooses. She says yes to him. They will be married simply and soon. Mrs. Van Hopper clears off in a huff, angry at the passage of time and at another rich man who has got away. But she’s unimportant, a bit of comic relief in the story, and now she passes from it.

They honeymoon in Venice, that place of romance made for love. Aboard the steamer travelling through the Mediterranean they make love. Though she could be mistaken for his daughter, the years dissolve between them in their love embraces in bed. They look happy. They are, or at least she is. His happiness, though real, is blighted by a past that won’t leave him. Rebecca is dead, but not her influence. In memory and dreams she’ll go on haunting him. Caroline’s strength, belief, steadfastness, love and loyalty are the things that help him to endure.

They arrive back in England. Max has written from Italy to the staff at Manderley, so they know he is returning with his bride, the second Mrs. de Winter. The staff are mainly cordial to her and accept her in her new position as mistress of Manderley. But one member of staff (Mrs. Danvers) is only outwardly cordial to her. Inwardly she seethes, aggrieved by the loss of Rebecca whom she cared for and loved from the time Rebecca was 12 years old. But the love is a strange one, an erotic one (fulfilled or not) and one of admiration for Rebecca’s negative qualities (cruelty, sadism, condescension, contempt). A tortured soul who never smiles or laughs, Mrs. Danvers sees her likeness in her former mistress. As such, with Rebecca’s death, she is slowly dying herself spiritually. Rebecca’s venom becomes that of Mrs. Danvers. She hates Caroline, loathes her youth, beauty and happiness, and secretly wishes for her death. This wish becomes overt toward the end of the story when she tries to goad Caroline into killing herself during a moment of deep crisis for Caroline. This is unforgivable, we feel, so we are not saddened in the least when Mrs. Danvers herself is stricken by a deep crisis later on.

There is much more in the story that could be written about, but these details would be better appreciated by watching the film. Max is deeply wounded at one point. He is accused of committing a crime, and a nasty, smarmy character named Jack Favell (a cousin of Max’s and part-time paramour of Rebecca’s) tries to blackmail him. But three things prevail, even if Manderley cannot: Max, Caroline and their love.

Ten years later, an epilogue to the story is presented by Caroline. She and Max are living quietly in a small seaside villa along the Mediterranean. In a calm and wistful voice, Caroline tells us this:

“Last night I dreamt I went to Manderley again. The house was a tomb. Our fear and suffering lay buried in the ruins. There would be no resurrection. But I knew that when I woke I would not be bitter. I would think of Manderley as it might have been if we could have lived there without fear. I remembered the rose garden in summer, tea under the chestnut tree, the murmur of the sea from the lawns below. These things will always be with me. They are memories that cannot hurt and they sweeten this exile we have brought upon ourselves. But I will not tell Max about my dream. We never talk of Manderley. And of course we can never go back…Maxim is wonderfully patient and never complains. Not even when he remembers, which happens I think more often than he would like me to know.”
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