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In a reboot of Alfred Hitchcock’s classic, “Rebecca,” Daphne du Maurier’s haunting story is told once again, but in a muted, disappointing way. It is still an exciting film to watch at times, but this is almost completely a product of du Maurier’s brilliant story.

The story starts in Monte Carlo, where a humble “lady’s companion” played by Lily James gets swept up in a whirlwind romance with a wealthy widower, Maxim de Winter. She hastily agrees to be his second wife, completely unaware of what awaits her at Manderley, his estate back in England.

Maxim’s first wife, Rebecca, died under mysterious circumstances and left behind a household that cannot move on from her. Rebecca, in death, has more of a presence in the house than the living Mrs. de Winter. Rebecca draws Maxim toward her as he sleepwalks to her old rooms at night, leaving his new bride alone. The housekeeper, Mrs. Danvers, repeatedly humiliates and tortures Mrs. de Winter, making her feel unwelcome at Manderley. Every time Mrs. de Winter seems to find her footing, Danvers pulls the rug from under her.

She struggles to make a name for herself, literally, as her character is only referred to as “mademoiselle” until she upgrades to Mrs. de Winter. She is clumsy and lost at Manderley. Living in a guest room and struggling to socialize, she spends her time investigating the mysterious Rebecca, looking through her belongings and slowly picking apart her story.

This version is similar in structure and appearance to the Hitchcock version. There is not much that makes this version particularly contemporary aside from more scandal and more subtly placed dramatic music. It is much more psychological. We see Mrs. de Winter’s nightmares and follow her gaze into the mirrors.

Armie Hammer’s portrayal of Maxim is fine, although a little lost as he speaks in a strange sort of transatlantic accent. He doesn’t summon the full breadth of de Winter’s rollercoaster of emotions and always wears the same wrinkled yellow suit. James’ Mrs. de Winter appears styled identically to Joan Fontaine’s in the Hitchcock version, which is an odd choice. Despite this, her portrayal of this meek and out-of-place girl is effective.

James’ performance, however, cannot carry the dynamic between the two leads. The lack of chemistry is disappointing, especially considering these characters are meant to be so enthralled with each other that they break the class divide, drop everything and get married after spending only a week together.

Still, there are several dramatic scenes that are quite well done. The third act will keep viewers on their toes if they’re unfamiliar with the story. This version attempts to modernize the plot by having Mrs. de Winter play a key role in getting Maxim exonerated, where in previous versions she stays at home — a wife waiting for her husband’s return.

The ending is different from the Hitchcock version and the novel, adding Mrs. Danvers’ dramatic downfall and an epilogue for the de Winters. The book and previous film end more ambiguously, with the final thrilling moments being the Manderley burning down. The new ending is wrong. These characters don’t need a happy ending spelled out for them.

Reimagining a classic, beloved novel and a best picture winner is an ambitious feat, but this movie was not ambitious enough.

Published on November 2, 2020 at 7:52 pm