Woke up early in the morning, calmed down, turned on the computer, put on the headphones, and the famous opening line rang in my ear: "Last night, I dreamt that I was back to Mandoli Manor..." The first time I watched a black and white film was last winter vacation, one year, and now I watch 40 years of movies. The trembling background music, the dark light and the gloomy manor made me immediately immersed in the story and unable to extricate myself. If time goes back ten years, I would definitely give this film five stars, but with my current eyesight, Hitchcock’s skill is very high, but the film is not as amazing as I remember.
Laurence Oliver, the most valuable Shakespearean performer, has tension in the details of his eyes and wrist; as the owner of Mandoli Manor, his every move is solemn and general. Judith Anderson, the housekeeper, has been criticized too much, and now it seems that there are lesbian elements... There is a poster that is the storyboard of her instigating Mrs. De Winter to jump out of the window, which is really talented as a witch. Joan Fontaine, the actor of the hostess: A failure, a huge failure. JF's fixed acting path is this kind of weak, helpless and slightly neurotic image. In 41 years of her boudoir, she played more naturally and freely. On the other hand, in "Butterfly Dream", her body movements are mainly chest and shoulder shrugs, her facial expressions are mainly frowns and tears, her footsteps are simple and chaotic, and she accidentally falls. This kind of performance is very stage style, but it feels very natural to put it in the movie (cup, actually uses anime vocabulary). Sister R, the soul character in the original book, is completely abstract in the movie, as if halfway through the writing of the thesis as a reference, optional: this is also the characteristic of many Hitchcock movies-the characterization is superficial and the atmosphere is overblown.
Hitchcock is particularly fond of beautiful women, murders of noble women, mentally ill patients, north-northwest, deep boudoir suspicious clouds and so on. There are also a large number of articles discussing the sexually suggestive elements in the language of his lens (those commenting old men! ). After much deliberation, it is nothing more than the cliché of "famous beauty". The image of Rebecca in the original work is enriched by other people’s descriptions, contrasts and memories, showing the exaggerated, extravagant and obscene reality of the society at the time; this is completely squeezed in the movie, and Rebecca is a mystery in the first 95 minutes, like a fox fairy. But when Rebecca’s ship going to sea was salvaged ashore, De Winter’s confession of his crimes began. Rebecca suddenly became a vicious witch, a bad woman with unpredictable intentions, and the disconnection caused the atmosphere of the movie to change from a mysterious sudden change to a sudden change. Anger is then mixed with sadness and guilt, and eventually becomes nostalgia. When I learned that Rebecca was suffering from cancer and used De Winter's hand to understand him, the actor's expression showed sympathy. It feels like the script has been split. Although I now "criminally" think that seemingly perfect people must have little secrets, but this completely unpredictable and 95-minute description of the heroine wandering around is really not clever, and even digress.
So two hours and five minutes later, I knew that this satirical novel had become a love soap opera. At the end of the book, "The ashes of fire are drifting towards us with the salty sea breeze." The compelling coldness reminds them that they can never get rid of it; on the other hand, the movie ends when the two embrace the oversized bonfire. Originally, the housekeeper burned the manor with a fire, but did not burn Rebecca's shadow, but after all, the gorgeous shooting skills defeated the connotation, and the relief became inexplicable.
View more about Rebecca reviews
