Rebecca | Chicago Reader


There are too many conflicting levels of authorship—between Alfred Hitchcock, Daphne du Maurier, and David O. Selznick—for this 1940 film to be a complete success, but through its first two-thirds it is as perfect a myth of adolescence as any of the Disney films, documenting the childlike, nameless heroine's initiation into the adult mysteries of sex, death, and identity, and the impossibility of reconciling these forces with family strictures. As a Hitchcock film, it is, with the closely related Suspicion, one of his rare studies from a female point of view, and it is surprisingly tender and compassionate; the same issues, treated from a male viewpoint, would return in Vertigo and Marnie (Laurence Olivier's Maxim becoming the Sean Connery character of the latter film). With Joan Fontaine, George Sanders, Judith Anderson, Nigel Bruce, and Gladys Cooper.



  • Alfred Hitchcock


  • Laurence Olivier
  • Joan Fontaine
  • Judith Anderson
  • George Sanders
  • Nigel Bruce
  • Reginald Denny
  • C. Aubrey Smith
  • Gladys Cooper
  • Florence Bates
  • Leo Carroll
  • Melville Cooper
  • Edward Fielding
  • Forrester Harvey
  • Lumsden Hare
  • Leonard Carey
  • Billy Bevan
  • Philip Winter
  • Leland Hodgson


  • Robert E. Sherwood
  • Joan Harrison


  • David Selznick

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