{"id":89580,"date":"2020-10-15T07:00:36","date_gmt":"2020-10-15T04:00:36","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/watch-rebecca-review-hitchcocks-version-overshadows-this-re-du-maurier\/"},"modified":"2020-10-15T07:00:36","modified_gmt":"2020-10-15T04:00:36","slug":"watch-rebecca-review-hitchcocks-version-overshadows-this-re-du-maurier","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/watch-rebecca-review-hitchcocks-version-overshadows-this-re-du-maurier\/","title":{"rendered":"Watch &#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3b9b28c5b0d\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3b9b28c5b0d\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-rebecca-review-hitchcocks-version-overshadows-this-re-du-maurier\/#%E2%80%9CWatch_Online_%E2%80%98Rebecca_Review_Hitchcocks_Version_Overshadows_This_Re-du_Maurier%E2%80%9D\" >&#8220;Watch Online &#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-rebecca-review-hitchcocks-version-overshadows-this-re-du-maurier\/#%E2%80%9C%E2%80%98Rebecca_Review_Hitchcocks_Version_Overshadows_This_Re-du_Maurier%E2%80%9D\" >&#8220;&#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221;<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9CWatch_Online_%E2%80%98Rebecca_Review_Hitchcocks_Version_Overshadows_This_Re-du_Maurier%E2%80%9D\"><\/span>&#8220;Watch Online &#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9C%E2%80%98Rebecca_Review_Hitchcocks_Version_Overshadows_This_Re-du_Maurier%E2%80%9D\"><\/span>&#8220;&#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div>\n                        \u201cLast night I dreamt I went to Manderley again,\u201d begins both Daphne du Maurier\u2019s 1938 best-seller \u201cRebecca\u201d and nearly every adaptation of the Gothic novel that has followed, including Alfred Hitchcock\u2019s atmospheric 1940 best picture winner. With accolades like that, why reboot \u201cRebecca\u201d? Well, as the opening line itself suggests, one can and does return to the film\u2019s tragi-romantic estate, shrouded in fog and mystery as it is, as often as one pleases. A fresh take from \u201cHigh Rise\u201d director Ben Wheatley may be foolhardy, but it\u2019s not without interest, whether or not audiences know the novel and its numerous stage and screen versions.<\/p>\n<p>If Rebecca was the first Mrs. de Winter, and Joan Fontaine\u2019s character was the second, what does that make the two wives in Wheatley\u2019s version? The third and fourth? Or thirty-first and -second? No doubt, there are many potential viewers out there who have never read du Maurier\u2019s novel, nor seen any version thereof. Those audiences are most likely the target for this retro-styled period thriller distributed by Netflix, which will inevitably be compared to Hitchcock\u2019s first American production, on which the budding British auteur melded visions with classic Hollywood producer David O. Selznick.<\/p>\n<p>That makes Hitch\u2019s \u201cRebecca\u201d the Rebecca to this remake, seeing as how it looms so large over anything Wheatley does that it necessarily gives the new project an inferiority complex. But neither the director nor his writing team (\u201cStardust\u201d scribe Jane Goldman, aided by Joe Shrapnel and Anna Waterhouse) are trying to do a straightforward remake here. Their \u201cRebecca\u201d is more of a re-adaptation, restoring certain key ideas which the Hays Code (Hollywood\u2019s playbook for self-censoring from the mid-1930s till he late \u201960s) scrubbed clean.<\/p>\n<p>In du Maurier\u2019s novel, a young woman of modest origins (played here by Lily James) is swept off her feet by recent widower Maxim de Winter (Armie Hammer, looking more than ever like a vintage J. C. Leyendecker model) while accompanying her fussbudget employer (Ann Dowd) in Monte Carlo. Romance sparks quickly \u2014 as all things are wont to do in this unusually combustible drama \u2014 and before our heroine has time to make sense of her emotions, she\u2019s being escorted back to Manderley, Maxim\u2019s castle-like British manor, which is perched precariously close to a wall of steep Cornish cliffs. This vertiginous arrangement was a running <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">theme<\/a> in du Maurier\u2019s work, as \u201cMy Cousin Rachel\u201d reminds, leaving audiences with the quietly perturbing unease that individual characters, if not the entire situation, could plunge to their peril at any given moment.<\/p>\n<p>Whatever heat Maxim and the new Mrs. de Winter (it\u2019s a conspicuous detail in du Maurier\u2019s commentary on gender roles and the gross power imbalance in this particular marriage that her first name is never spoken) enjoyed on the Riviera takes a dour turn once they return to Manderley \u2014 a place that is haunted by the memory of Rebecca, and hovered over by head housekeeper Mrs. Danvers (Kristin Scott Thomas, the casting of whom feels like the film\u2019s true raison d\u2019\u00eatre).<\/p>\n<p>There are no literal ghosts in \u201cRebecca\u201d \u2014 no figures roaming the halls draped in white sheets, no semi-see-through specters lurking in the background. But this is every bit a ghost story in the sense that the title character is never seen, most certainly dead, and yet her presence can be felt looming over every aspect of the film. Psychologically, the movie makes an expert study of the insecurities anyone feels when stepping into another person\u2019s shoes, aligning audiences with James\u2019 perspective to the degree that we share in her paranoia: the suspicion that the entire staff is judging her and gossiping behind her back. She simply can\u2019t believe that her studly new husband might have seen something in her that was preferable to the perfection that everyone attributes to the previous Mrs. de Winter \u2014 although maybe that has more to do with Mrs. Danvers\u2019 adulation of her late mistress.<\/p>\n<p>For about three-quarters of the running time, \u201cRebecca\u201d does a respectable job of navigating between respect for the source and establishing its own distinct identity. And then, at precisely the moment where it stands to make a few enlightened improvements \u2014 when Maxim reveals his involvement in Rebecca\u2019s disappearance, forcing his new wife to make a tough choice \u2014 this Rolls Royce of an adaptation veers off the road. The idea was clearly to boost the agency of James\u2019 character, making her more actively involved in clearing her husband\u2019s name. But she has been a doe-eyed imbecile until this point (watch how long it takes her just to figure out that Rebecca drowned), so the third-act Nancy Drew routine doesn\u2019t really fly \u2014 nor is it even necessary to put the case to rest.<\/p>\n<p>There was an opportunity here for the macabre-minded Wheatley to steer \u201cRebecca\u201d into darker territory, but he and longtime DP Laurie Rose have instead embraced an elegant, golden-hued idea of the 1930s that feels as far from Hitchcock\u2019s sinister realm of impressionistic shadows as Anthony Minghella\u2019s \u201cThe Talented Mr. Ripley\u201d is from Wheatley\u2019s own \u201cKill List.\u201d His update opens in the decadent glow of \u201cTo Catch a Thief,\u201d then allows the exquisite production and costume design to clash with that feeling the new Mrs. de Winter must have that there are termites swarming beneath all these decadent surfaces \u2014 which has been a signature of Wheatley\u2019s other films until now.<\/p>\n<p>In a way, the director seems to have fallen into a similar trap to the one that snared Hitchcock: In both versions, the producers take a dominant hand, overriding some of the directors\u2019 instincts. Here, it was the idea of the team at Working Title \u2014 who\u2019ve gambled on unconventional talent to direct beloved literary properties in the past, which is how the world got Joe Wright\u2019s modern spin on \u201cPride &amp; Prejudice\u201d \u2014 to hire Wheatley for this project. But one suspects that maybe they didn\u2019t let him go as dark as his instincts could have taken the material, making this particular return to Manderley a bit more combustible.<\/p><\/div>\n<p><script type=\"text\/plain\" class=\"optanon-category-C0004\">\n  !function(f, b, e, v, n, t, s) {\n    if (f.fbq) return;\n    n = f.fbq = function() {\n      n.callMethod ?\n          n.callMethod.apply(n, arguments) : n.queue.push(arguments);\n    };\n    if (!f._fbq) f._fbq = n;\n    n.push = n;\n    n.loaded = !0;\n    n.version = '2.0';\n    n.queue = [];\n    t = b.createElement(e);\n    t.async = !0;\n    t.src = v;\n    s = b.getElementsByTagName(e)[0];\n    s.parentNode.insertBefore(t, s);\n  }(window, document, 'script',\n      'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\n  fbq('init', '586935388485447');\n  fbq('init', '315552255725686');\n  fbq('track', 'PageView');\n<\/script><\/p>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/watch-movies-tv-series\/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch Movies &#038; TV Series <\/a><\/span>category<\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/variety.com\/2020\/film\/reviews\/rebecca-review-1234805533\/\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Watch Online &#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221; &#8220;&#8216;Rebecca&#8217; Review: Hitchcock&#8217;s Version Overshadows This Re-du Maurier&#8221; \u201cLast night I dreamt I went to Manderley again,\u201d begins both Daphne du Maurier\u2019s 1938 best-seller \u201cRebecca\u201d and nearly every adaptation of the Gothic novel that has followed, including Alfred Hitchcock\u2019s atmospheric 1940 best picture winner. With&#8230;<\/p>\n","protected":false},"author":1,"featured_media":89581,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/pmcvariety.files.wordpress.com\/2020\/09\/rebecca-trailer.jpg?w=1000","fifu_image_alt":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-89580","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-watch-movies-tv-seriess"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/89580","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=89580"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/89580\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/89581"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=89580"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=89580"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=89580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}