Rebecca

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 remarkab...

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 ..”