Directed by the legendary Alfred Hitchcock, Rebecca (1940) is a haunting psychological drama wrapped in romance and mystery. Adapted from the novel by Daphne du Maurier, the film became Hitchcock’s first American project and his only movie to win the Academy Award for Best Picture. It’s elegant, unsettling, and quietly devastating — a masterclass in atmosphere.
Detailed Summary
A Timid Beginning in Monte Carlo
The film opens in Monte Carlo, where a shy, unnamed young woman (played by Joan Fontaine) works as a paid companion to a wealthy socialite. She meets the brooding widower Maxim de Winter (Laurence Olivier), who is still grieving the death of his glamorous wife, Rebecca.
Their romance unfolds quickly. Maxim proposes, and the young woman accepts — stepping into a world she barely understands. From the very beginning, there’s an emotional imbalance: she is inexperienced and insecure; he is distant and haunted.
Arrival at Manderley
Upon arriving at Maxim’s grand estate, Manderley, the tone shifts. The house itself feels like a character — imposing, elegant, and heavy with memory. The new Mrs. de Winter immediately senses she is living in Rebecca’s shadow. Servants speak of Rebecca in reverent tones, and every room seems to whisper her name.
Most unsettling of all is the housekeeper, Mrs. Danvers (Judith Anderson). Intensely devoted to Rebecca, she subtly undermines the new wife at every turn. Mrs. Danvers preserves Rebecca’s bedroom exactly as it was and psychologically torments the fragile second Mrs. de Winter, making her feel inadequate and replaceable.
The Masquerade Ball and Public Humiliation
In one of the film’s most painful scenes, Mrs. Danvers tricks the new Mrs. de Winter into wearing a costume identical to one Rebecca once wore. When Maxim sees her at the masquerade ball, he reacts with visible anger and horror. The humiliation is crushing.
This moment crystallizes the heroine’s deepest fear: that she can never compete with Rebecca — a woman who seems perfect, even in death.
The Boat Discovery and Shocking Revelation
The story takes a dramatic turn when a sunken boat is discovered — with Rebecca’s body inside. Previously, it had been assumed she drowned in a sailing accident, but the new evidence suggests something far darker.
Maxim finally confesses the truth to his wife. Rebecca was not the angel everyone believed. Their marriage was a façade; she was manipulative, unfaithful, and cruel. On the night she died, they argued. She taunted Maxim, claiming she was pregnant with another man’s child. In a moment of rage, Maxim shot her. He then sank the boat to stage an accident.
This confession completely shifts the emotional dynamic. The timid heroine transforms — instead of fearing Rebecca, she now supports Maxim, determined to protect him.
Movie Ending
The official investigation into Rebecca’s death begins. Suspicion falls on Maxim, and a coroner’s inquiry threatens to expose the truth. However, a key revelation changes everything.
It is discovered that Rebecca had visited a doctor in London shortly before her death. The records show she was not pregnant — she was terminally ill with cancer. This recontextualizes her final confrontation with Maxim. She had lied about being pregnant to provoke him into killing her. Knowing she was dying, she wanted to destroy him even in death.
This twist transforms Rebecca from tragic victim into orchestrator of her own revenge.
The death is officially ruled a suicide, clearing Maxim of legal blame.
But Rebecca’s influence isn’t finished.
As Maxim and his wife return to Manderley, they see it engulfed in flames. Mrs. Danvers, devastated by the inquiry’s conclusion and Rebecca’s tarnished legacy, has set the estate on fire before taking her own life.
Manderley — the physical embodiment of Rebecca’s power — burns to the ground. The final image is Rebecca’s embroidered “R” going up in flames.
The destruction symbolizes liberation. With Manderley gone, so is Rebecca’s suffocating presence. Maxim and his wife are finally free — but at the cost of everything they once called home.
It’s not a triumphant ending. It’s bittersweet, morally ambiguous, and emotionally complex — exactly what makes it unforgettable.
Are There Post-Credits Scenes?
No. Rebecca (1940) does not include any post-credits scenes. The film ends definitively with the burning of Manderley, and there are no additional sequences after the credits.
Type of Movie
Rebecca is a psychological gothic romance blended with mystery and noir elements. It explores obsession, identity, jealousy, and emotional manipulation beneath the surface of an elegant romantic drama.
Cast
- Joan Fontaine as the Second Mrs. de Winter
- Laurence Olivier as Maxim de Winter
- Judith Anderson as Mrs. Danvers
- George Sanders as Jack Favell
- Reginald Denny as Frank Crawley
Notably, the protagonist is never given a first name — reinforcing her fragile identity.
Film Music and Composer
The score was composed by Franz Waxman. His music amplifies the gothic atmosphere, especially in scenes inside Manderley. The sweeping romantic themes contrast beautifully with the underlying tension.
Filming Locations and Their Importance
Though set in Cornwall, England, most of the film was shot in Hollywood at Selznick International Studios. The exterior shots of Manderley were miniatures and matte paintings, enhancing its dreamlike and almost mythical quality.
The artificiality actually strengthens the film’s mood. Manderley feels less like a real house and more like a psychological prison — a constructed monument to memory.
Awards and Nominations
At the 13th Academy Awards, Rebecca won:
- Best Picture
- Best Cinematography (Black-and-White)
It was nominated for 11 Academy Awards in total, including Best Director for Alfred Hitchcock and Best Actress for Joan Fontaine.
Interestingly, Hitchcock never won a competitive Oscar for directing, making this Best Picture win somewhat bittersweet in his career.
Behind the Scenes Insights
- Producer David O. Selznick closely supervised Hitchcock, limiting his usual creative freedom.
- Hitchcock deliberately kept Joan Fontaine isolated from the cast to heighten her sense of insecurity on screen.
- Laurence Olivier reportedly favored another actress and was initially cold toward Fontaine, which unintentionally enhanced their on-screen dynamic.
- The Hays Code prevented the film from depicting murder going unpunished, which is why Rebecca’s death was altered from the novel.
Inspirations and References
The film is based directly on Daphne du Maurier’s 1938 novel Rebecca. Themes of haunted houses and oppressive memory draw heavily from gothic literary traditions like Jane Eyre.
The character of Mrs. Danvers has become a blueprint for obsessive antagonists in psychological dramas.
Alternate Endings and Deleted Scenes
Because of censorship rules at the time, the novel’s version — where Maxim definitively murders Rebecca — had to be softened. The film reframes her death in a way that reduces his legal guilt.
Some early script drafts explored darker endings where Maxim might face punishment, but these were abandoned to satisfy production code requirements.
Book Adaptation and Differences
Major difference: In the novel, Maxim kills Rebecca without ambiguity. In the film, her terminal illness and manipulative behavior shift moral weight away from him.
The movie also softens some of Rebecca’s more scandalous behavior due to censorship constraints.
However, the central psychological tension and gothic atmosphere remain remarkably faithful to the source material.
Memorable Scenes and Quotes
Key Scenes
- The first reveal of Manderley through fog — iconic gothic imagery
- Mrs. Danvers showing Rebecca’s preserved bedroom
- The masquerade ball humiliation
- Maxim’s confession scene
- The final burning of Manderley
Iconic Quotes
- “Last night I dreamt I went to Manderley again.”
- “I am Mrs. de Winter now.”
- “Rebecca always won.”
Easter Eggs and Hidden Details
- The persistent “R” monogram symbolizes Rebecca’s invisible dominance.
- Mirrors are used frequently to emphasize fractured identity.
- Mrs. Danvers is often filmed in shadow, giving her a ghostlike presence.
- The camera frequently frames the second Mrs. de Winter in lower positions to visually signal insecurity.
Trivia
- This was Hitchcock’s first American film.
- The second Mrs. de Winter is never given a first name.
- Joan Fontaine later won an Oscar for another Hitchcock film, Suspicion (1941).
- The burning of Manderley required extensive miniature effects work.
Why Watch?
Because Rebecca is not just a romance or a mystery — it’s a study of insecurity and obsession. If you appreciate slow-burning psychological tension, complex female characters, and morally ambiguous storytelling, this film delivers.
It also shows Hitchcock mastering mood long before his more famous thrillers.
Director’s Other Works
- Psycho (1960)
- Vertigo (1958)
- Rear Window (1954)
- North by Northwest (1959)
- The Birds (1963)
Recommended Films for Fans
- Jane Eyre (1943)
- Gaslight (1944)
- Suspicion (1941)
- Crimson Peak (2015)
- The Innocents (1961)
