“Rebecca” gets a beautiful new treatment
Director Ben Wheatley’s gorgeous new adaptation of Daphne du Maurier’s 1938 gothic novel “Rebecca” begins with the same words as the novel and as Alfred Hitchcock’s Academy Award- winning 1940 version, spoken by the story’s central, unnamed character: “Last night I dreamt I went to Manderley again.”
What follows is a wellshot and - acted telling of the tale. There won’t be many surprises for those who know Hitchcock’s version well, but screenwriters Jane Goldman, Joe Shrapnel and Anna Waterhouse have made a few tweaks, mostly for the better, including one regarding a major revelation late in the film that sticks more closely to du Maurier’s work.
This 2020 version — already enjoying a run in select theaters and now being released on Netflix — stars Lily James, as the aforementioned woman portrayed by Joan Fontaine in 1940, and Armie Hammer as Maxim de Winter, the wealthy widower who lives in his family’s famed estate, Manderley, on an English coast.
Following James’ character’s dark- and- gloomy opening dream, we cut to something strikingly different, a sun- drenched vision of Monte Carlo. Here, she is paid to attend to American aristocrat Mrs. Van Hopper ( a deliciously detestable Ann Dowd, who knows a thing
or two about playing an unlikeable woman from her work on “The Handmaid’s Tale”).
When Mrs. Von Hopper learns Maxim is staying at the same hotel as she, she attempts to weasel into his company, but he deftly slips out of her trap. However, he takes an interest in this young woman working for Mrs. Van Hopper, and, when the older woman falls ill, begins to spend time with her.
He is quite taken with her and quickly moves past some awkward moments she creates with questions about his late wife, a topic he clearly is not interested in addressing.
With a recovered Mrs. Van Hopper poised to continue her journeys with
her employee by her side, Maxim impulsively asks his new love to come with him to Manderley instead.
“As your secretary?” she asks.
“No, as my wife. I’m asking you to marry me, you little fool,” he says, this “Rebecca” keeping some of its outdated dialogue to go along with its period setting.
Van Hopper insists to the young woman Maxim isn’t truly in love with her and will grow bored of her, a fear compounded after she arrives at the imposing estate. It is overseen largely by housekeeper Mrs. Danvers ( Kristin Scott Thomas), who makes it increasingly clear she adored the previous Mrs. de Winter, the titular Rebecca.
While Mrs. Danvers regularly brings up the subject of Rebecca and maintains her things as if Rebecca were still among the living in the house, Maxim has moved the master bedroom from the west wing to the east wing, which, unlike the former, does not overlook the sea. ( He seems to have a real aversion to the sea. That could prove to be an important fact.)
Although intimidated by both Mrs. Danvers and this figurative specter, the young Mrs. de Winter begins to try to establish her standing in home. However, the frosty Mrs. Danvers has a few moves to make against her.
And then there’s Maxim, who along with remaining a bit secretive has developed a sleepwalking habit.
The love he has for his wife may be fading, as he sometimes becomes frustrated with her, especially when, as he sees it, she needlessly fixates on Mrs. Danvers.
As “Rebecca” proceeds, we’re given reason to wonder if our heroine should fear her husband, as well as the housekeeper.
While, again, fairly similar in its storytelling to Hitchcock’s film, this “Rebecca” is visually striking in the way only a modern film can be.
It’s also nicely cast by the well- known Nina Gold (“Star Wars: The Force Awakens”), and not just because the film’s telegenic leads look especially wonderful as captured by the lenses of talented cinematographer Laurie Rose (“Peaky Blinders”).
Perhaps he’s not Laurence Olivier, star of 1940’ s “Rebecca,” but Hammer (“Call Me by Your Name,” “On the Basis of Sex”) has that impressively classic feel about him that helps sell the role. Similarly, it’s easy to see why James (“Cinderella,” “Downton Abbey”) is a go- to for casting directors looking for that vintage- feeling leading lady.
While Scott Thomas (“Darkest Hour”) channels Judith Anderson from the 80- year- old version of “Rebecca,” Sam Riley — quite good as Pierre Curie in earlier 2020 Prime Video release “Radioactive” — adds a little something to the mix as the nefarious Jack Favell, who claims to be an acquaintance of Mrs. Danvers.
If you’ve seen the 2016 wild- and- wildly shot action comedy “Free Fire,” you probably wouldn’t have envisioned Ben Wheatley — whose background also includes horror and commercials — at the helm of this lush and somewhat- throwback treat. A solid choice he has turned out to be, however, the director bringing a steady hand to this reimagining of a classic.
“Rebecca” might have been a more engrossing watch had Wheatley, Goldman (“X- Men: Days of Future Past”) and writing tandem Shrapnel and Waterhouse (“Race”) taken more liberties with the story, but it certainly works as is.
This “Rebecca” is a worthwhile blend of old and new, and it should be enough to tempt you to go to Manderley again.