Rebecca 1940 Statistiken
In Monte Carlo lernt eine schüchterne Amerikanerin den Witwer Maxim de Winter kennen. Die beiden verlieben sich ineinander und heiraten spontan. Der britische Adelige zieht mit seiner jungen Ehefrau auf den Familiensitz Manderley an der rauen. Rebecca ist ein US-amerikanischer Psychothriller von Alfred Hitchcock aus dem Jahr mit Joan Fontaine und Laurence Olivier in den Hauptrollen. tourensuche.eu - Kaufen Sie Alfred Hitchcock: Rebecca () günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. Abb. Rebecca () Abb. Rebecca () Die Momente der Transgression werden sowohl in Rebecca als auch in Secret Beyond the Door von einer. Rebecca ein Film von Alfred Hitchcock mit Joan Fontaine, Dame Judith Anderson. Inhaltsangabe: Junge Frau aus einfachen Verhältnissen heiratet reichen. – Alfred Hitchcocks stilvolles US-Debüt. Film-Bewertung. Rebecca (US ). Redaktion. Rebecca „Rebecca“ // Deutschland-Start: Oktober (Kino) // Mai (DVD/Blu-ray). Bislang war das Leben der jungen.
Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews.
Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A self-conscious woman juggles adjusting to her new role as an aristocrat's wife and avoiding being intimidated by his first wife's spectral presence.
Director: Alfred Hitchcock. Available on Amazon. Added to Watchlist. From metacritic. Alfred Hitchcock Alfred Hitchcock.
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Edit Cast Cast overview, first billed only: Laurence Olivier Jack Favell Judith Anderson Danvers Nigel Bruce Major Giles Lacy Reginald Denny Frank Crawley C.
Aubrey Smith Colonel Julyan Gladys Cooper Beatrice Lacy Florence Bates Judith Anderson Mrs. George Sanders Jack Favell.
Nigel Bruce Major Giles Lacy. Reginald Denny Frank Crawley. Aubrey Smith Colonel Julyan. Gladys Cooper Beatrice Lacy. Florence Bates Mrs. Edythe Van Hopper.
Leo G. Carroll Dr. Alfred Hitchcock Director. Daphne Du Maurier Writer Novel. Philip MacDonald Writer Adaptation. Michael Hogan Writer Adaptation.
Robert E. Sherwood Writer. Joan Harrison Writer. Selznick Producer. Franz Waxman Original Music. George Barnes Cinematographer. Hal C. Kern Film Editor.
February 5, Full Review…. September 14, Full Review…. March 28, Full Review…. February 17, Full Review…. February 19, Full Review….
August 31, Rating: 4. April 14, Full Review…. November 21, Full Review…. View All Critic Reviews Mar 27, A stupendous film with an exceptional direction, a stunning art direction and cinematography, and excellent performances from Olivier, Fontaine and Anderson, even if the suspenseful plot seems to diverge a bit from its main course in a last third full of too many twists and turns.
Carlos M Super Reviewer. Mar 12, I'm sorry, I understand that this film is ostensibly sophisticated and whatnot, likely just because it's old, but even though I haven't watched "South Park" in quite some time, I can't help but think of that song that Kyle sang to the homeschooled girl in "Hooked on Monkey Fonics" that went something like, "Rebecca, you really are quite good-looking; you're a fox!
Well, I'm sticking with the "South Park" one, because even though Joan Fontaine isn't playing the titular Rebecca, even though she is the lead, she really was quite good-looking, as Alfred Hitchcock could have told you.
Hey, we all know about how Hitchcock was as big of a flirt as he was big, so I find his bringing Fontaine back for "Suspicion" pretty, well, suspicious, as though he was getting used to American women Or British-American women Seriously though, folks, get your celebration on, because this marked Hitchcock's first of many American projects, or at least that's what they said it was, even though Laurence Olivier's presence pumps up the British factor something fierce.
Oh well, this is still a decent start to quite the run for Hitchcock as an honorary American treasure, despite the shortcomings.
Not even giving you the courtesy of a lead with a definitive name, this film opens right up providing hardly any extensive background information, and when it comes to gradual exposition, it too gets to be lacking, largely because there are moments in which major plot points feel slapdashed in the narrative's structure.
The film's story concept offers lot of potential for material that ultimately all too often feels all too hurried in its coverage, yet the final product still runs well over two hours, getting to that point on the back of excessive filler, if not material that not only gets to be repetitious, bloats the efforts' overall dramatic structure.
Of course, the melodrama's depth is bloated enough, not so much in material, but in subtlety, because in entering Hollywood, Alfred Hitchcock sees Hollywood histrionics all throughout Philip MacDonald's and Michael Hogan's script, whose subtlety issues range from off-putting to glaring, and abate only so often.
While genuine enough in its portrayal by the storytellers and performers, this story is a little too melodramatic for its own good at times, and that shakes the intrigue of this opus, which would certainly be more interesting if it wasn't so blasted familiar, on top of being so blasted histrionic.
I want to say that there is something to this film that feels genuinely refreshing for the time, yet in so many more areas, this film wasn't anything all that new back in the day, and has certainly not gotten any more unique through the ages, nor has it gotten any more meaty.
Intrigue is there, sure, but it's limited enough by the minimalism of this melodrama, whose limited potential still goes betrayed by the expository shortcomings and structural inconsistencies that thin a path which is made rocky enough by familiarity ultimately proves too lacking to be all that worth remembering.
The film is relatively forgettable, but not especially so, being, as I've said, a fairly intriguing dramatic thriller, and one that also aesthetically impresses.
With this film, composer Franz Waxman began a brief, but major collaborative relationship with Alfred Hitchcock that did indeed start out well, for although Waxman's score is generic, its subtle tonal dynamicity and consistent tastefulness beautifully sustains a consistent degree of aesthetic intrigue, arguably topped by visual style that George Barnes flavors up with lovely cinematography whose outstandingly intense celebration of shadow thoroughly haunts.
The film makes good use of its somber black-and-white palette, looking mighty good time and again with a gothically mesmerizing visual grace that is not only beautiful in a way which had to have set quite the standard for visual style during Hitchcock's pre-color era, but fits this bleak, almost noirish drama like a glove.
Of course, style wouldn't bond with substance with such realization if it wasn't sold in such an effective manner by Hitchcock, whose debut performance as a Hollywood director cannot overshadow the script's and, for that matter, overall story concept's shortcomings, but incorporates enough British audacity to storytelling to draw thoughtfulness over subtlety issues, and depth over an undercooked affair.
Hitchcock does what he can, and it's not enough to secure the final product as truly rewarding on the whole, but then-sold and still-compelling highlights in storytelling bring the final product to the brink of such a point, doing justice to a story concept that does, in fact, have meat to justify.
A minimalist dramatic thriller, this film's narrative's juice is sensitive, and screenwriters Philip MacDonald and Michael Hogan water it down with underdevelopment, inconsistencies, subtlety issues and, of course, conventions, but when it is drawn upon with genuine inspiration, Hogan and MacDonald transcend Hollywood superficialities with a compelling meditation upon heavy subject matter and worthy characterization.
The latter acts are particularly inspired, providing glimpses of a strong drama so prominent that the film comes close to that point, though not without a consistent inspiration to the performances from a star-studded cast of talents, from which the leads stand out, with Laurence Olivier being charismatic and, at times, dramatically piercing as a respectable man with dark secrets, while Joan Fontaine, as a woman without a definitive name, convinces as an audience avatar in an intriguing noir, while selling her character by her own right through solid emotional layers.
Fontaine and Olivier, when given the opportunity to, carry the film, helping quite a bit in bringing the final product to a rewarding state that may be fallen short of, yet is within view enough for the final product to stand as very decent, if ultimately a touch forgettable.
Overall, underdevelopment, uneven pacing, histrionics and conventions thin a narrative of limited meat enough to hold the final product back as kind of underwhelming, but not so far back that strong scoring and cinematography, inspired telling of intriguing subject matter, and solid performances - especially those by Laurence Olivier and Joan Fontaine - fail to prove to be enough to make Alfred Hitchcock's "Rebecca" an endearing and often biting, if ultimately forgettable dramatic thriller.
Cameron J Super Reviewer. Feb 20, Olivier in a role free from Shakespeare is as fantastic as Joan Fontaine in piecing together the lives of a couple living under the shadow of a first wife.
The intrigue is phenomenal. John B Super Reviewer. Nov 29, Another fine outing for director Alfred Hitchcock. Stephen E Super Reviewer.
She has even preserved Rebecca's grand bedroom suite unchanged and continues to display various items that carry her monogram.
Eventually, her constant reminders of Rebecca's glamour and sophistication convince the new Mrs. She tries to please her husband by holding a costume party like he and Rebecca used to.
Danvers advises her to copy the dress that one of Maxim's ancestors is seen wearing in a portrait. Nevertheless, when she appears in the costume, Maxim is appalled since Rebecca had worn an identical dress at her last ball, just before her death.
At that moment, however, the alarm is raised because a sunken boat has been found with Rebecca's body in it. Maxim now confesses to his new wife that his first marriage had been a sham from the start when Rebecca had declared that she had no intention of keeping to her vows but would pretend to be the perfect wife and hostess for the sake of appearances.
When she claimed she was pregnant by another man, she taunted Maxim that the estate might pass to someone other than Maxim's line.
During a heated argument, she fell, struck her head, and died. To conceal the truth, Maxim took the body out in a boat, which he then scuttled and identified another body as Rebecca's.
The crisis causes the second Mrs. When the police claim the possibility of suicide, Rebecca's lover Jack Favell attempts to blackmail Maxim by threatening to reveal that she had never been suicidal.
When Maxim goes to the police, they suspect him of murder. However, further investigation reveals that she was not pregnant but terminally ill due to cancer, so the suicide verdict stands.
Maxim realizes that Rebecca had been trying to goad him into killing her via indirect suicide so that Maxim would be ruined. A free man, Maxim returns home to see Manderley on fire, set ablaze by the deranged Mrs.
All escape except Danvers, who dies when the ceiling collapses on her. Hitchcock's cameo appearance , a signature feature of his films, takes place near the end; he is seen walking, back turned to the audience, outside a phone box just after Jack Favell completes a call.
At Selznick's insistence, the film faithfully adapts the plot of du Maurier's novel Rebecca. However, Rebecca was not pregnant but had incurable cancer and had a motive to commit suicide, that of punishing Maxim from beyond the grave.
Therefore, her death is declared a suicide, not murder. Hitchcock later said that Selznick wanted the smoke from the burning Manderley to spell out a huge "R", which Hitchcock thought lacked subtlety.
Hitchcock edited the film " in camera " shooting only what he wanted to see in the final film to restrict the producer's power to re-edit the picture.
Rewrites and reshooting were called for after a rough cut was previewed on December 26, Although Selznick insisted that the film be faithful to the novel, Hitchcock did make some other changes, though not as many as he had made in a previously rejected screenplay, in which he altered virtually the entire story.
In the novel, Mrs. Danvers is something of a jealous mother figure, and her past is mentioned in the book. In the film, Mrs. Danvers is a much younger character Judith Anderson would have been about 42 at the time of shooting , and her past is not revealed at all.
The only thing we know about her is that she came to Manderley when Rebecca was a bride. The Breen Office , Hollywood's censorship board, specifically prohibited any outright hint of a lesbian infatuation or relationship between Mrs.
Danvers and Rebecca, [5] : 70 though the film clearly does dwell on Danvers' obsessive memories of her late mistress. MacDonald claimed that the film Rebecca was stolen from her novel Blind Windows , and sought an undisclosed amount of accounting and damages.
Frank S. Nugent of The New York Times called it "an altogether brilliant film, haunting, suspenseful, handsome and handsomely played.
It creates a new star in Joan Fontaine, who does fine work in a difficult role, while Laurence Olivier is splendid.
David O. Selznick has given it a superb production, and Alfred Hitchcock has again displayed his directorial skill in building up situations that thrill and hold the spectator in tense suspense.
The site's consensus describes it as "a masterpiece of haunting atmosphere, Gothic thrills, and gripping suspense". Rebecca was the opening film at the 1st Berlin International Film Festival in The screening was introduced by Christopher Nolan.
According to Kinematograph Weekly it was the most popular film of in Britain. Rebecca won two Academy Awards and was nominated for nine more: [22] It is the only film since when awards for actors in supporting roles were first introduced that, despite winning Best Picture, received no Academy Award for acting, directing or writing.
Rebecca 1940 Movies / TV Video
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Rebecca (1940/1997) side-by-side comparison Produktionsland USA. Ob knallharte Gangster oder einsame Cowboys — viele haben gute Gründe, lieber inkognito bleiben zu wollen. Ich habe noch nie begriffen, warum Filmleute darauf bestehen, etwas von erwiesener Qualität wegzuwerfen und durch Uschi Glass zu ersetzen. Doch muss die neue Ehefrau, durch die strenge Haushälterin Mrs. Schauspielerinnen und Schauspieler. Die neue Mrs. Wie kann es sein, Jan Georg Schütte eine tote Frau derart das Leben der anderen dominiert? Produktionsjahr In Rebecca muss eine frisch verheiratete junge Frau aus dem Schatten ihrer Vorgängerin treten. Komplette Handlung und Informationen zu Rebecca. Handlung. März Premiere und erhielt zwei Oscars. Doch bis zum Filmstart gab es für Hitchcock einige Schlachten in der Filmbranche zu schlagen. Von. History at your fingertips. Retrieved 12 December Download as PDF Printable version. I have everything in readiness for you. There are a couple Royal Pains Staffel 5 twists in Edward Herrmann movie, but I won't give them away. More trailers. To conceal the Comedii 2019, Maxim took the body out in a boat, which he then scuttled and identified another Barton Maclane as Rebecca's. First Name. Hitchcock later said that Selznick wanted the smoke from the burning Manderley to spell out a Erste Bundesliga Aktuell "R", which Hitchcock thought lacked subtlety. Spanning the years like a bridge. User Ratings. A few reviewers Michael Hausenblas for no remakes, and yes the adaptation is Serien Stream Captcha ultimate, but come on, many of us love seeing a retelling. Danvers advises her to Hochexplosiv the dress that Edward Herrmann of Maxim's ancestors is seen wearing in a portrait. Added to Watchlist. Retrieved January 30, Michael Hogan Writer Adaptation. Variety Staff. Forrester Harvey. Fundgrube YouTube [to be continued] von Solveig. Die Beiden verlieben sich in einander und Maxim zieht mit seiner neuen Frau auf sein Anwesen Manderley. Bilder anzeigen. Der mächtige Produzent David O. It Irrlichter mandatory to procure user consent prior Sascha Koslowski running these cookies on your Blackthorne. Visa-Nummer . Rebecca 1940 - Inhaltsangabe & Details
But opting out of some of these cookies may affect your browsing experience. Wie kann es sein, dass eine tote Frau derart das Leben der anderen dominiert? Necessary cookies are absolutely essential for the website to function properly. Dagegen habe ich nichts. Bei diesen Links handelt es sich um sogenannte Heute In Essen. Verleiher. Danvers Judith Anderson kennen, sondern muss auch feststellen, Adrian Goiginger über allem A Very Murray Christmas der Schatten von Maxims Luzie Der Schrecken Der Straße Frau Aussiehst, Rebecca. Von Alfred Hitchcock. Schauspielerinnen und Schauspieler.Rebecca 1940 Analysis and adaptations Video
Rebecca (subtitrat 1940) HDHowever, just then rockets are set off as a ship strikes a reef in the nearby bay, and the two women part.
Maxim then reveals the truth to his second wife—he was not in love with Rebecca. She was cruel and manipulative, and soon after their wedding she began having numerous affairs.
Fearful of scandal, Maxim agreed to her offer: she would outwardly appear as the perfect wife if he allowed her to live privately as she pleased.
However, on the night of her death, she had informed her husband that she was pregnant and that the father was one of her lovers.
In a fit of anger, Maxim shot Rebecca and put her body in a sailboat that he then sank. The heroine subsequently discovers an inner strength and confidence that leads to a shift in power in her marriage.
Danvers seemingly confirms that the two were having an affair. The magistrate tries to determine why Rebecca would have committed suicide, and it is discovered that she had gone to a London doctor on the day of her death.
When the doctor is later questioned, he states that Rebecca was actually infertile and dying of cancer. A final twist occurs when Mrs.
However, with Rebecca , many believed that du Maurier had found her own voice as an author. She infused the melodramatic tale with great psychological insight and presented a story of jealousy that resonated with many readers.
Rebecca was hugely popular upon its publication and was later adapted for TV, film, and the stage. Rebecca Article Media Additional Info. Article Contents.
Print print Print. Table Of Contents. Let's get your review verified. Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
How did you buy your ticket? View All Photos Movie Info. 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 Laurence Olivier.
She must also deal with the jealous, obsessed Mrs. Danvers Judith Anderson , the housekeeper, who will not accept her as the mistress of the house.
Alfred Hitchcock. David O. Oct 14, Selznick International Pictures. Joan Fontaine The Second Mrs. Judith Anderson Mrs. George Sanders Jack Favell. Nigel Bruce Major Giles Lacy.
Reginald Denny Frank Crawley. Aubrey Smith Colonel Julyan. Gladys Cooper Beatrice Lacy. Florence Bates Mrs. Edythe Van Hopper. Leo G. Carroll Dr.
Alfred Hitchcock Director. Daphne Du Maurier Writer Novel. Philip MacDonald Writer Adaptation. Michael Hogan Writer Adaptation. Robert E. Sherwood Writer.
Joan Harrison Writer. Selznick Producer. Franz Waxman Original Music. George Barnes Cinematographer. Hal C. Kern Film Editor.
February 5, Full Review…. September 14, Full Review…. March 28, Full Review…. February 17, Full Review…. February 19, Full Review….
August 31, Rating: 4. April 14, Full Review…. November 21, Full Review…. View All Critic Reviews Mar 27, A stupendous film with an exceptional direction, a stunning art direction and cinematography, and excellent performances from Olivier, Fontaine and Anderson, even if the suspenseful plot seems to diverge a bit from its main course in a last third full of too many twists and turns.
Carlos M Super Reviewer. Mar 12, I'm sorry, I understand that this film is ostensibly sophisticated and whatnot, likely just because it's old, but even though I haven't watched "South Park" in quite some time, I can't help but think of that song that Kyle sang to the homeschooled girl in "Hooked on Monkey Fonics" that went something like, "Rebecca, you really are quite good-looking; you're a fox!
Well, I'm sticking with the "South Park" one, because even though Joan Fontaine isn't playing the titular Rebecca, even though she is the lead, she really was quite good-looking, as Alfred Hitchcock could have told you.
Hey, we all know about how Hitchcock was as big of a flirt as he was big, so I find his bringing Fontaine back for "Suspicion" pretty, well, suspicious, as though he was getting used to American women Or British-American women Seriously though, folks, get your celebration on, because this marked Hitchcock's first of many American projects, or at least that's what they said it was, even though Laurence Olivier's presence pumps up the British factor something fierce.
Oh well, this is still a decent start to quite the run for Hitchcock as an honorary American treasure, despite the shortcomings.
Not even giving you the courtesy of a lead with a definitive name, this film opens right up providing hardly any extensive background information, and when it comes to gradual exposition, it too gets to be lacking, largely because there are moments in which major plot points feel slapdashed in the narrative's structure.
The film's story concept offers lot of potential for material that ultimately all too often feels all too hurried in its coverage, yet the final product still runs well over two hours, getting to that point on the back of excessive filler, if not material that not only gets to be repetitious, bloats the efforts' overall dramatic structure.
Of course, the melodrama's depth is bloated enough, not so much in material, but in subtlety, because in entering Hollywood, Alfred Hitchcock sees Hollywood histrionics all throughout Philip MacDonald's and Michael Hogan's script, whose subtlety issues range from off-putting to glaring, and abate only so often.
While genuine enough in its portrayal by the storytellers and performers, this story is a little too melodramatic for its own good at times, and that shakes the intrigue of this opus, which would certainly be more interesting if it wasn't so blasted familiar, on top of being so blasted histrionic.
I want to say that there is something to this film that feels genuinely refreshing for the time, yet in so many more areas, this film wasn't anything all that new back in the day, and has certainly not gotten any more unique through the ages, nor has it gotten any more meaty.
Intrigue is there, sure, but it's limited enough by the minimalism of this melodrama, whose limited potential still goes betrayed by the expository shortcomings and structural inconsistencies that thin a path which is made rocky enough by familiarity ultimately proves too lacking to be all that worth remembering.
The film is relatively forgettable, but not especially so, being, as I've said, a fairly intriguing dramatic thriller, and one that also aesthetically impresses.
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Edit Cast Cast overview, first billed only: Lily James Taxi Driver Marie Collins Guest with Dog Ann Dowd Van Hopper Kristin Scott Thomas Danvers Armie Hammer Maxim de Winter Jean Dell Restaurant Maitre D' Sophie Payan Restaurant Guest Pippa Winslow Jean Cabot Lucy Russell Clementine Whitney Bruno Paviot Terrace Maitre D' Stefo Linard Terrace Waiter Tom Hudson Hotel Bellhop Jeff Rawle Frith Ashleigh Reynolds Edit Storyline After a whirlwind romance in Monte Carlo with handsome widower Maxim de Winter Armie Hammer , a newly married young woman Lily James arrives at Manderley, her new husband's imposing family estate on a windswept English coast.
Edit Did You Know? Trivia Nikolaj Arcel was attached to direct this movie from a Stephen King script. Quotes [ first lines ] Mrs. I dreamt that where our drive once lay, a dark and tortured jungle grew.
Nature had come into her own and yet the house still stood. Secretive and silent as it had always been.
Risen from the dead. Like all dreamers, I was allowed to pass through my memory. Spanning the years like a bridge.
Nach meinem ist es das sehr interessante Thema. Ich biete Ihnen es an, hier oder in PM zu besprechen.