Alfred Hitchc*ck. The name alone makes me shiver. Known for his concoctions of seriously haunting imagery and bone-chilling scores, Hitchc*ck films are acclaimed as some of the best thrillers of all time. His more famous movies include Psycho (1960), The Birds (1963), and Rear Window (1954), but one of my favorites is a lesser-known film based on the novel by Daphne Du Maurier.
Rebecca tells the story of an introverted, young woman (Joan Fontaine) who is swept away by the handsome and wealthy courtier, Maxim de Winter (Laurence Olivier). They fall in love quickly, marry, and return to Maxim’s large country estate, Manderley. From the moment they arrive, it’s noticeable that Maxim is still troubled over the recent death of his first wife, Rebecca; the new Mrs. de Winter soon realizes that Rebecca still has a strong hold over the staff at Manderley, as well – especially the unnerving housekeeper, Mrs. Danvers, portrayed by Judith Anderson.
Several elements from this film have become the perfect recipe for a great thriller: Imagery, Unbridled Fear, an Eerie Score, Silhouettes, the Unknown, Plot Twist, and the Perfect Ending. Let’s dissect and discuss them.
Imagery
What helps draw you inside the film’s overall mood are the dense shadows fluttering throughout the scenes. Being a black and white film, Hitchc*ck had the freedom to create the dark, mysterious sets and have them come across even darker: empty rooms, coming up the driveway to the old house through the trees. These types of grim shadows aren’t portrayed as easily anymore.
Another example of imagery was the use of the letter “R” placed permanently around the house and surroundings. This enunciated Rebecca’s insistent haunting presence which had an uneasy effect on the new Mrs. de Winters, as well as the viewing audience.
Unbridled Fear
Joan Fontaine and Judith Anderson create perfect trepidation on screen. From the moment the new Mrs. de Winters is introduced, there’s a menacing mood struck between them. Mrs. de Winters is the fragile, sweet new wife, while Mrs. Danvers is strong, set in her ways, and she makes it known that she runs this house.
The obvious fear is portrayed in almost every scene these two appear together. Not only is the overwhelming “R” embroidered on books, napkins, and sheets, but Mrs. Danvers makes Mrs. de Winters even more uncomfortable every chance she gets. The notable fear written all over Fontaine‘s face shows her brilliant skills as an actress. Near the end of the film before all is explained, Mrs. Danvers tries to ploy the new Mrs. de Winters to jump out the window, making her believe she doesn’t belong at Manderley. Anderson plays the textbook vengeful villain.
Eerie Score
Squealing violins and sudden, jarring lilts in a score give it that haunting affect. The score by Franz Waxmanfor for Rebecca was absorbing; I couldn’t help but get goosebumps when Mrs. Danvers gave her cold stare paired with strong, climactic music.
Silhouettes
I can’t stress enough how effective a simple silhouette can be in a film. It gives the sense of unease and wonder. Mrs. Danvers ambiguous figure in the scene represented in the image below is a perfect example; she appears disembodied… frightening….
The Unknown
Without giving away the entire movie, I will pitch a few questions to explain my point:
- Why is everyone so enamored with Rebecca?
- What is the connection between Rebecca and Mrs. Danvers, and why is she immediately cold with the new Mrs. de Winters?
- Maxim’s temper flares anytime Rebecca is mentioned. What’s really going on?
- What is in the old boat house?
The more questions raised by a film, the more intrigue it produces, which is the meat and potatoes of any great thriller.
Plot Twist
When we finally discover the truth about Rebecca’s death, the entire film comes to a halt. Everything makes sense and the plot twist has done its job.
But then, when we feel that we completely understand what happened, another plot twist is thrown into the mix, and another! If done correctly, not only is the audience impressed by the revelations, but it shows that both the directors and writers worked cohesively to produce the perfect buildup on screen.
The Perfect Ending
I truly urge you to watch this film beginning to end to discover all the treasures revealed through Hitchc*ck‘s rendition of Daphne Du Maurier‘s novel, Rebecca. When you do, you’ll understand why I call it the “perfect ending” to a thriller. It’s unexpected, and you’ll be kicking yourself for feeling happy by The End.
Have I done my job to convince you of the best qualities in a thriller? I’d love to hear your reactions to this or any other favorite thrillers in the comments!
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