"You're overwrought, madam; I've opened a window for you."
"Last night I dreamt I went to Manderley again."
—The Second Mrs. de Winter, her opening narration from both film and novel.
A 1938 novel written by Daphne du Maurier (who also wrote the story that became The Birds). In 1940, Alfred Hitchcock directed the film version, his first American project, which won the Oscar for Best Picture. It was the only Hitchcock film to win Best Picture, and Hitchcock didn't win Best Director—he never did, in fact, and had to settle for a lifetime achievement Oscar late in life. A musical version debuted in Vienna, Austria in 2006.While working in Monte Carlo as the companion for the wealthy Mrs. Van Hopper, our young unnamed heroine meets the much wealthier Maxim de Winter: a moody, inscrutable widower presumed still to be in deep mourning for his late wife, the beautiful Rebecca, tragically drowned in a boating accident. Thus no-one is more surprised than the shy, gauche little companion when Maxim not only seems attracted to her but impetuously proposes they wed there and then.The first signs of trouble in Paradise appear when they arrive at his elegant old country estate, Manderley. The servants have grown too fond of its late mistress and receive their new one coolly. Mrs. Danvers, the current housekeeper and Rebecca's former nurse, is especially less than thrilled with the prospect of anyone taking Rebecca's place, and has made something of a fetish of keeping her darling's things exactly as she left them — stationery in the desk, clothes in the cupboards — all monogrammed with that bold, decisive initial R.As the novel progresses the shadow of Rebecca hangs more and more heavily over the house, making it increasingly difficult for our heroine to face the challenges not only of running a great estate but within her marriage — especially when it's increasingly clear that the two are related. Gradually, with a not-so-subtle assist from Mrs. Danvers, she begins to despair of ever living up to the perfect, proud, beloved Rebecca......then they find the remains of a boat...
This and its adaptations feature examples of:
Adaptational Heroism: The musical portrays the second Mrs. de Winter much more sympathetically and heroically after The Reveal - her desire to help Maxim seems far less psychotic. She's also portrayed as becoming a confident woman that doesn't take Mrs. Danvers's bullying any longer so that the audience can root for her. She and Maxim are seen as very happy together and kiss at the end, which is much clearer than the ambiguous future of their relationship in the novel.
The Hitchcock film does this to Maxim by eliminating his murder of Rebecca, by necessity of the Hays Code.
All Girls Want Bad Boys: The second Mrs. de Winter becomes even more passionately in love with Maxim once he admits that he killed Rebecca. Justified because the second Mrs. de Winter's greatest fear was that Maxim still loved Rebecca. When he confesses to killing her, it proves that he doesn't and never did.
However, the novel repeatedly hints that Maxim is actually rather weak-willed (as demonstrated by Rebecca's successful Suicide by Cop). Moreover, when the novel opens, Maxim's bad boy days are long gone. However, see Fridge Logic.
Alpha Bitch: Mrs. Danvers pulls a lot of the tactics despite being too old to qualify. Alice one of the maids that sneers at the narrator's modest and plain underwear fits better. Rebecca to the people she was openly nasty to.
Ambiguously Gay: Mrs. Danvers is coded as a lesbian as blatantly as the censors would allow, what with her caressing Rebecca's minks and lingerie, and talking about how Rebecca would undress in front of her and take a bath.
Animal Motifs: Rebecca, the wild and untamed one, is likened to the horses she trained, whereas our young, submissive heroine is likened to the loyal de Winter dog, Jasper.
Author Avatar: The second Mrs. de Winter's original name being "Daphne" implies that she was supposed to be one, though there are articles suggesting that the real author insert is Rebecca (du Maurier, at around the time that she was writing Rebecca, was also writing passionate, if self-loathing-filled, love letters to a straight, married woman; a lot of descriptors she uses for herself in these letters are similar to the descriptions of Rebecca in the novel). Of course, it could be both of them.
The Bad Guy Wins: Discussed throughout the novel, with the narrator always thinking that Rebecca is conquering from beyond the grave. In the end, Rebecca loses her power to hurt the new couple, but Mrs. Danvers destroys Manderley and causes the bleak ending described in the prologue right when the couple were happy for the first time.
Creator Cameo: Alfred Hitchcock, as usual, this time near the end, walking past George Sanders right after Sanders has exited a phone booth.
Creepy House Keeper: Mrs. Danvers. She is creepy in herself, with a deathlike appearance, and in her devotion to the memory of Rebecca such that she doesn't wash the clothes of Rebecca's scent and goes to her room every day.
Dances and Balls: Rebecca and Maxim regularly entertained at Manderley, and another costume ball is held in the second Mrs. de Winter's honour, at the begging of the neighbours who loved the previous ones. It doesn't go well.
Dark Secret: Rebecca's murder. In theory, only Maxim and the new Mrs. de Winter know the whole story, but Favell guesses it (though he gives up on his guess in the end) and one of the servants and the magistrate also figure out an unspecified amount, leading to a lot of worry about who knows what.
Mrs. Danvers tries to do this to our heroine after the fiasco at the costume party, telling her how worthless and unlike Rebecca she is. This is foiled when they find the boat where Rebecca's Suicide by Cop happened.
Mrs. Danvers at the end of the film (but not the novel). She can't live with the verdict about Rebecca.
Driving a Desk: As unconvincing as usual when Olivier is driving Fontaine around.
Earn Your Happy Ending: The narrator tries but does maybe not quite manage it. It is hinted that she is satisfied, and her husband is with the woman he loves, despite feeling really bad about the earlier events of the book.
Film Noir: The movie is sometimes considered an example of the genre, if only because of its visual style.
Rhododendrons and azaleas for Rebecca. The rhododendrons are particularly interesting: they are notoriously invasive, with a tendency to crowd out any native plants by depriving them of food and sunlight, ensuring their takeover of large areas. Moreover, they have a reputation (of uncertain validity) for "poisoning the soil," meaning that even once the rhododendron has gone, no other plant can thrive where it used to be. Sound familiar?
Foregone Conclusion: The novel begins some time after everything has happened, with the de Winters living a grim, inconsequential existence overseas.
Gentleman Snarker: Maxim gets decidedly snarky at the inquest. Not the cleverest tack to take when the police are suggesting you killed your wife...
Getting Crap Past the Radar: Seems to be Jack Favell's main business after blackmail. It's one of the things the narrator dislikes about him.
Grande Dame: Edythe van Hopper, who passes over into Rich Bitch territory; Beatrice, who is on the more intelligent and sympathetic end of the scale. Also Lady Crowen, who is rather ridiculous. Maxim's grandmother was one before becoming senile.
Happy Marriage Charade: Maxim and Rebecca; they are thought to be a glorious couple even by the house servants, and neighbours for miles around speak of them, but their marriage is anything but. It is hinted that the same is true for Beatrice and Giles.
Haunted Heroine: Figuratively speaking. The second Mrs. de Winter is obsessed with Rebecca, to the point that she feels like Rebecca is haunting the house, and sometimes imagines her visually. Mrs. Danvers helps things along...
I Am Not Pretty: The second Mrs. de Winter thinks she is bland and childish, but others find her reasonably attractive.
"I Am" Song: "I'm an American Woman" (which, aside from the title line, is entirely in German). Also, "Mrs. de Winter bin ich!" ("Mrs. de Winter am I!"), a duet between the heroine and Mrs. Danvers.
"Sie ergibt sich nicht" ("She's invincible") for Rebecca, sung by Mrs. Danvers.
"I Want" Song: "Zeit in einer Flasche" ("Time in a Bottle"), where Mrs. de Winter-to-be wishes for a way to capture the magic of a moment, the reality of a dream, and the miracle of understanding in order to remember her time with Mr. de Winter in Monte Carlo, not knowing that he intends to marry her.
It's a Costume Party, I Swear: The fancy dress ball held in the second Mrs. de Winter's honour. It was in fact a costume party, but Mrs. Danvers suggested M. de W. II dress up as a certain painting in the house, something Rebecca had done in the past, in order to humiliate her.
Large Ham: Mrs. van Hopper as portrayed by Carin Filipčić in the musical.
Let The Past Burn: Mrs. Danvers goes over the edge and sets Manderley on fire. All that symbolically remains of Rebecca is burned down along with the house. In some adaptations Mrs. Danvers also burns.
Motif: The big flourished R of Rebecca's name, as written by the woman herself, appears and is described several times and used to bring out her character. In the musical, this is translated to the main poster, which is a flaming R and the shadow of a face.
Nice to the Waiter: The protagonist is very polite to waiters and assorted serving staff, but they are not nice to her. The personnel in the hotel at Monte Carlo were rude and unhelpful and from the Manderley staff only Clarice makes her feel welcome and comfortable.
The Nicknamer: Rebecca seemed to have been one. She called Mrs. Danvers Danny and Maxim Max. Maxim does not seem to care much for the nickname, at least after her death when it reminds him of her. The narrator thinks this means she was close with Mrs. Danvers and Maxim, and wishes that she could use Max herself.
No Ending: Played with. The novel ends very abruptly with "And the ashes blew towards us with the salt wind from the sea," and gives no description of what happens next or even details of the fire. However, the ending has already been written in the form of the prologue, which takes place some time later. The prologue is very bleak, but when first reading it one has no idea what causes it.
No Name Given: The second Mrs. de Winter. She mentions that her name is unusual, and people rarely spell it correctly, but doesn't tell what it is. In earlier drafts of the novel, her name was Daphne. A bit unusual, and, back in the days before Scooby-Doo, easy to misspell. In The Musical, she's just know as "Ich" ("I").
Second Love: The heroine for Maxim, although he grew to hate Rebecca and she never loved him; their marriage was a charade.
She Cleans Up Nicely: The second Mrs. de Winter attempts this twice. The first time she dresses up to look like a woman on a magazine hoping to impress her husband, at which he's a little alarmed. The second time backfires horribly when she is tricked into dressing up as Rebecca for the costume ball.
Shrinking Violet: The second Mrs. de Winter is meek and shy, which allows Mrs. Danvers to intimidate her.
Sidekick Song: "Die lieben Verwandten" ("Beloved relatives"), sung by Beatrice and Giles, with the second Mrs. de Winter joining in at the end.
Smug Snake: Jack Favell, especially as played by George Sanders, is one of the smuggest snakes in media history.
Suicide by Cop: Rebecca manipulated Maxim into shooting her after learning she had cancer by pretending to be pregnant with another man's child. Because of the production code, this is amended in the film and musical versions to Rebecca dying in a convenient fall just as Maxim was ready and willing to pull the trigger.
Take Our Word for It: Several characters mention how attractive and charming Rebecca was in life, but she never appears onscreen (or in the text of the novel).
Triumphant Reprise: "Hilf mir durch die Nacht" ("Help Me Through the Night") is a Distant Duet with Maxim and wife unable to get through the demons at Manderley. It is reprised triumphantly in "Jenseits der Nacht" ("Beyond the Night"), where they are together and happy at last.
The Unfair Sex: Massive subversion; Rebecca was a sociopathic bitch who cheated on Maxim with a series of lovers, and wasn't even loyal to them either. Our young heroine, who had earlier aspired to be just like her predecessor, is glad that she's dead.
Unreliable Narrator: The second Mrs. de Winter describes herself as plain, a bit foolish, and makes out she's not very emotionally strong. Other characters regularly comment on her prettiness, and she is clearly both intelligent and emotionally strong underneath her shyness.
Villainous Breakdown: Mrs. Danvers has a mild one in all versions, but the musical takes the cake when she puts on Rebecca's nightgown and walks through Manderley in a daze, lighting the place on fire as she goes.
Villain Song: "Rebecca" and its two reprises, sung by Mrs. Danvers when showing the second Mrs. de Winter Rebecca's room, when trying to make her commit suicide and when she learns Rebecca had cancer, where this becomes a Sanity Slippage Song. Also "Eine hand wäscht die and're Hand" ("One hand washes the other") for Jack Favell, crossing over to Sidekick Song territory as he explains his extortionist philosophy.
Wag the Producer: Hitchcock had to resort to some tricky measures to get around producer David O. Selznick's creative demands. Among others, he edited "in-camera" — shooting only the scenes he wanted to include in the final cut so that Selznick couldn't recut the film if he didn't like it. This is why, for example, the film does not end with a giant "R" appearing out of the smoke from the burning Manderley, as Selznick originally envisioned.