REBECCA (2020) & REBECCA (1940) – A fresh take on a classic

Netflix just released its latest version of the Daphne du Maurier literary classic Rebecca. Comparison of this with the much acclaimed 1940 Best Picture version directed by Alfred Hitchcock is bound to ensue. In fact I have seen a number of reviewers condemning the new version already claiming its inferiority to the 1940 version. When I watched the latest interpretation directed by Ben Wheatley I was blown away at so many levels. Firstly there was the epic scale of the love story, then, the perfect casting of Armie Hammer, Lily James and Kristen Scott Thomas who really brought their characters to life, and finally, the breathtaking scenery and costumes captured beautifully by the cinematographer. When I read reviewers belittling this version while praising the Hitchcock version as a masterpiece, I could not imagine how a black and white movie shot 40 years ago could possibly be better than this. So, to satisfy my curiosity, I watched Hitchcock’s 1940 version one night later.

My personal opinion is Hitchcock’s version may very well have been a revelation and be considered a masterpiece at the time it was made, but when viewed today, I feel it simply cannot compare to the new version at multiple levels. I disagree with those reviewers who had lamented on the “poor performances” of the 2020 version while showering accolades on the 1940’s version with the legendary Lawrence Olivier and Joan Fontaine. To be honest, when viewed today, their acting seem stiff and emotionless when compared to the subtle and more realistic approach of today’s acting. Some critics complained that Lily James was too beautiful for the role. I disagree. I thought she looked more beautiful in her other movies like Cinderella and Mamma Mia Here We Go Again, but here, she was deliberately made to take on a more simple and mousier look. If we were to compare looks, then, I would argue that Joan Fontaine was in fact the one who looked too beautiful and cultured for her role and hence less convincing as someone who is poor and working as a companion for a rich matron. Kristin Scott Thomas killed it playing the stern and almost frightening house keeper Mrs Danvers and again a far more effective portrayal to Judith Anderson’s version which was very cardboard and wooden. She effectively had only one blank expression throughout the movie! I also found it a bit annoying, but it it just me or does everyone else find that the people in the 1940 version all tended to speak very fast as if they were in a hurry and rushing to go somewhere. This felt unnatural to me, unless this was how people spoke and behaved 80 years ago which is not something I can vouch for.

Both films started in a very similar fashion and followed a similar general flow of the story, with even a number of dialouge that were almost identical. But I felt the new version did everything better especially where the variations were. Hitchcock’s version was a bit boring and some dialouge scenes seen to go on and on forever. Despite a slightly longer running time of about 10 minutes, its ending felt very abrupt. Ben Wheatley’s version on the other hand, had a much better closure. The sets for Manderley Mansion in both versions were impressive especially in the beautiful details of Rebecca’s bedroom. In fact in this regard, I think Hitchcock’s set for Rebecca’s room was more impressive than the new version. Both movies benefited from the rich and captivating source novel by Daphne du Maurier which is testament that her story can withstand the test of time.

In conclusion, I would say once again that anyone who tells you that the 2020 version is trash and that the 1940 version is better is either lying or needs to have their heads examined. I just hope that they don’t think by doing so it would make them look like better critics since they are able to appreciate the older classics. While this may be true in some cases, it is definitely not the case for Rebecca. Indeed it would be a pity if potential viewers of the new Rebecca were discouraged from watching it based solely on such misguided reviews, as they would have missed out on one of the few great movies of the year.