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RomanceDramaMysteryThriller

Rebecca

-

After a whirlwind romance with a wealthy widower, a naïve bride moves to his family estate but can't escape the haunting shadow of his late wife.

Release Date : 2020-10-16

Language :EnglishFrench

Adult : false

Status : Released

Production Company : Working Title Films

Production Country : United Kingdom

Alternative Titles :

Cast

Lily James

Character Name : Mrs. de Winter

Original Name : Lily James

Gender : Female

Armie Hammer

Character Name : Maxim de Winter

Original Name : Armie Hammer

Gender : Male

Kristin Scott Thomas

Character Name : Mrs. Danvers

Original Name : Kristin Scott Thomas

Gender : Female

Keeley Hawes

Character Name : Beatrice

Original Name : Keeley Hawes

Gender : Female

Ann Dowd

Character Name : Mrs. Van Hopper

Original Name : Ann Dowd

Gender : Female

Sam Riley

Character Name : Jack Favell

Original Name : Sam Riley

Gender : Male

Tom Goodman-Hill

Character Name : Frank Crawley

Original Name : Tom Goodman-Hill

Gender : Male

Mark Lewis Jones

Character Name : Inspector Welch

Original Name : Mark Lewis Jones

Gender : Male

John Hollingworth

Character Name : Giles

Original Name : John Hollingworth

Gender : Male

Bill Paterson

Character Name : Dr. Baker

Original Name : Bill Paterson

Gender : Male

Jacques Bouanich

Character Name : Taxi Driver

Original Name : Jacques Bouanich

Gender : Male

Marie Collins

Character Name : Guest With Dog

Original Name : Marie Collins

Gender : Female

Jean Dell

Character Name : Restaurant Maitre D'

Original Name : Jean Dell

Gender : Male

Sophie Payan

Character Name : Restaurant Guest

Original Name : Sophie Payan

Gender : Female

Pippa Winslow

Character Name : Mrs. Jean Cabot

Original Name : Pippa Winslow

Gender : Female

Lucy Russell

Character Name : Mrs. Clementine Whitney

Original Name : Lucy Russell

Gender : Female

Bruno Paviot

Character Name : Terrace Maitre D'

Original Name : Bruno Paviot

Gender : Male

Stefo Linard

Character Name : Terrace Waiter

Original Name : Stefo Linard

Gender : Male

Tom Hudson

Character Name : Hotel Bellhop

Original Name : Tom Hudson

Gender : Male

Jeff Rawle

Character Name : Frith

Original Name : Jeff Rawle

Gender : Male

Ashleigh Reynolds

Character Name : Robert

Original Name : Ashleigh Reynolds

Gender : Male

Bryony Miller

Character Name : Clarice

Original Name : Bryony Miller

Gender : Female

Ben Crompton

Character Name : Ben

Original Name : Ben Crompton

Gender : Male

Jane Lapotaire

Character Name : Granny

Original Name : Jane Lapotaire

Gender : Female

Poppy Allen-Quarmby

Character Name : Phillippa

Original Name : Poppy Allen-Quarmby

Gender : Male

David Cann

Character Name : Lord Crowan

Original Name : David Cann

Gender : Male

Julia Deakin

Character Name : Lady Crowan

Original Name : Julia Deakin

Gender : Female

Jason Williamson

Character Name : Kitchen Folk Singer

Original Name : Jason Williamson

Gender : Male

Colin Bennett

Character Name : Ben's Father

Original Name : Colin Bennett

Gender : Male

Jess Irvin Rose

Character Name : Scullery Maid

Original Name : Jess Irvin Rose

Gender : Male

Chris Bearne

Character Name : Manderley Villager

Original Name : Chris Bearne

Gender : Male

John MacNeill

Character Name : Manderley Villager

Original Name : John MacNeill

Gender : Male

Harry Gostelow

Character Name : Reporter

Original Name : Harry Gostelow

Gender : Male

Robert Irons

Character Name : Reporter

Original Name : Robert Irons

Gender : Male

David Horovitch

Character Name : Coroner

Original Name : David Horovitch

Gender : Male

Steven Waters

Character Name : Sargent Rowe

Original Name : Steven Waters

Gender : Male

David Appleton

Character Name : Night Watchman

Original Name : David Appleton

Gender : Male

Adam Burton

Character Name : Manderley Ball Guest

Original Name : Adam Burton

Gender : Male

Fionn Cox-Davies

Character Name : Manderley Ball Guest

Original Name : Fionn Cox-Davies

Gender : Male

Sonya Cullingford

Character Name : Manderley Ball Guest

Original Name : Sonya Cullingford

Gender : Female

Kirsty Arnold

Character Name : Manderley Ball Guest

Original Name : Kirsty Arnold

Gender : Male

Alistair Goldsmith

Character Name : Manderley Ball Guest

Original Name : Alistair Goldsmith

Gender : Male

Omari Gordon

Character Name : Manderley Ball Guest

Original Name : Omari Gordon

Gender : Male

Fania Grigoriou

Character Name : Manderley Ball Guest

Original Name : Fania Grigoriou

Gender : Male

Jane Leaney

Character Name : Manderley Ball Guest

Original Name : Jane Leaney

Gender : Female

Miranda Letten

Character Name : Manderley Ball Guest

Original Name : Miranda Letten

Gender : Male

Connor Scott

Character Name : Manderley Ball Guest

Original Name : Connor Scott

Gender : Male

Nicholas Ball

Character Name : Manderley Ball Musician - Drums

Original Name : Nicholas Ball

Gender : Male

Evan Clegg

Character Name : Manderley Ball Musician - Trumpet

Original Name : Evan Clegg

Gender : Male

Phillip Granell

Character Name : Manderley Ball Musician - Violin

Original Name : Phillip Granell

Gender : Male

Daniel Hewson

Character Name : Manderley Ball Musician - Trombone

Original Name : Daniel Hewson

Gender : Male

Matthew Redman

Character Name : Manderley Ball Musician - Guitar

Original Name : Matthew Redman

Gender : Male

George Sleightholme

Character Name : Manderley Ball Musician - Clarinet

Original Name : George Sleightholme

Gender : Male

Romano Vizzani

Character Name : Manderley Ball Musician - Accordion

Original Name : Romano Vizzani

Gender : Male

Ian Watson

Character Name : Manderley Ball Musician - Accordion

Original Name : Ian Watson

Gender : Male

Stuart Davidson

Character Name : Villager (uncredited)

Original Name : Stuart Davidson

Gender : Male

Julian Ferro

Character Name : Stable Boy (uncredited)

Original Name : Julian Ferro

Gender : Male

Toby Sauerback

Character Name : Coroner's Policeman (uncredited)

Original Name : Toby Sauerback

Gender : Male

Reviews

M

Manuel São Bento

@msbreviews

2021-06-23

If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com Netflix’s Rebecca is based on the 1938’s novel of the same name written by Daphne du Maurier, but it’s not its first cinematic adaptation, which leads me to the following shameful statement: I’ve never seen the famous Alfred Hitchcock’s version of this story (nor have I read the novel, but I firmly defend that this doesn’t matter). It’s the only film of Hitchcock’s filmography to have received the Best Picture award, so I admit that I’m much at fault here. However, Ben Wheatley isn’t directing a remake of the original movie, but rather another adaptation of the also incredibly popular novel. I was intrigued by the premise, and the cast is definitely convincing, so how did it go? If I had to choose one word to ultimately describe Rebecca right now, it would probably be… weird. More on this in a bit. Starting with the positives, Armie Hammer and Lily James share such vivid chemistry that it elevates the surprisingly compelling bond that their characters form. I write “surprisingly” because I’m not easily engaged in most romantic relationships in films, whether these are straight-up romances or mixed up with other genres, like comedy or, as in this case, horror/thriller. Nevertheless, Lily and Armie are able to capture perfectly the growing love interest in one another through the first act, which is entirely dedicated to develop and nurture the key relationship of the movie. This is something I sincerely appreciate: when filmmakers know how to control pacing and how much time should a particular character or storyline receive of build-up. Wheatley does an impressive job during the first half of the film by moving the characters and plot forward at the precise moment they need to. This allows the viewer to understand what the characters are genuinely feeling and why some narrative decisions are made that change the course of the story. Lily James offers a remarkable performance, just like Armie Hammer. Kristin Scott Thomas is also excellent, even though her character is part of my problems with the movie. However, it’s the production design that stands out! The beautiful colors and striking landscapes of the French Riviera fill the screen with luxury and harmony during the naturally passionate beginning of the relationship. Once the narrative moves to Manderley, the tone changes to a gradually more depressing, dark environment, accompanied by a creepy score (Clint Mansell), and spooky nightmares. The adequate costumes also help to set the atmosphere, but the beginning of the second half is where things start to get extremely weird. From the very first moment the viewer sets place in Manderley, something is noticeably not right. Everyone addresses the late wife, Rebecca, as the most perfect human being to ever exist, reaching God-like compliments in a clear attempt of trying to create the cliche “previous wife was amazing, new one is awful, let’s make her life a living hell” storyline. An expected development with exaggeratedly positive comments from the staff. However, it’s the horror vibe that embraces the mansion that drives me nuts. Wheatley sets a dark, mysterious, even supernatural environment surrounding the house, a definitely intriguing aspect that leads to a hugely disappointing, hollow, unsatisfactory conclusion. From the first to the second act, the genre in display changes from a fun, lighthearted romance to a horror/thriller featuring a “haunted” mansion. The tone change is far from being smooth. However, the third act stores a drastic shift in pretty much everything: tone, genre, story, and even characters. I can’t get into details, but it’s the most incomprehensible decision in the entire film. The last act not only follows a path that comes from nowhere, but it’s also incredibly rushed, concluding the movie in the most disjointed, convoluted way possible. It raises questions related to events and characters in the previous act, it treats Mrs. Danvers very poorly, and ends with a deceiving last shot that makes the viewer think “did I miss something?” when the answer is a clear “no, it’s just a weird ending”. Clint Mansell’s score is captivating, but its timing is just completely off. It’s this feeling of false uncertainty that leaves me frustrated. Why try to make a film about something that it’s not? Why try to give Rebecca a horror vibe if it doesn’t lead to any impactful outcome? I finished the movie with doubts that have no reason to exist simply because the question should have never been asked by the story in the first place... All in all, Netflix’s version of Rebecca gets lost in trying to balance so many genres in just one film. Ben Wheatley does a great job controlling the pacing, offering enough time to develop the main characters and the core relationship. However, the tone changes are far from being well-executed, leading to an utterly absurd, rushed, convoluted last act out of nowhere that raises logical questions and leaves the viewer with a false sense of uncertainty. A well-structured, entertaining first half partially compensates for the weirdness that overflows the second part. Lily James and Armie Hammer deliver great performances, as does Kristin Scott Thomas, but the production design (supported by terrific costumes) steals the spotlight. Clint Mansell’s score doesn’t go unnoticed, but its placement is exceptionally inefficient. In the end, the attempt at creating a horror atmosphere with the “haunted” mansion storyline is so anti-climactic that I can’t wholeheartedly recommend this flick… Rating: C

C

Coco Sea

@CocoSea

2024-01-04

Splendid Remake! At the start, Wheatley’s direction sails us around an elegant coastal hotel in this lavish period drama. With enviable period fashion and classic cars, a wicked, obtrusive employer is easily replaced by a quietly confident Maxim, handsomely and splendidly played by Mr. Hammer. How lucky is the beautiful (yet daunted) lady’s companion to have met him. Or is shi? Mr. Hammer’s Maxim is not cocky or patronizing as Mr. Olivier’s in 1940; Mr. Hammer is quite appealing at the start. Miss James offers as brilliant a performance as Joan Fontaine’s in 1940. I also prefer this pleasant and proper 2020 version (instead of the 1940 version). I expect as much from the British and from the ‘lady and gentleman’ dance of the director (Wheatley) and the screenwriters (Goldman, Shrapnel, Waterhouse). All the characters have depth; some have brooding; Hammer and James’ characters develop nicely throughout; and the cinematography and music were compelling. While watching this remake, I gladly no longer cared about the book or the original film. I think there should have been award nominations, too. How I envy the love some have to “walk through flames for ..”