Hitchcock’s thriller drama is more drama and less thriller this time. And this fabrication of Du Maurier’s infamous novel is the apt projection of her explicit writing. And even though it fumbles a lot in its earlier stage due to its eerie editing and intangible tone that does wear off quickly. This conflict doesn’t last for long, Hitchcock’s eyes grows wiser and vision sharper, after our protagonist enters the spooky palace. Brimmed with speculations on each steps, the multiple characters are staged skillfully on the screen. On terms of adaptation, there are few bits lopped off to keeps the audience enchanted and at the brisk of their seat, which may shuck the uncertain element out of the park.
Nevertheless, with a gritty and cheesy elements installed to glorify the sequences, the film stays a thrilling art that survives for the rumors rather than its characters mingling in a complicated strings tied for the dramatic effect. Fontaine, the protagonist and also the audience of the storyline, as she too is figuring out the trajectory and the environment of the room by testing the temperature every now and then is brilliant.
Olivier with a dark past and a fret plastered in his face even hidden behind his smile, is convincing. But he fails to challenge Fontaine, as her curiosity and a sudden crumble due to the guilt overpowers any other actors on screen within a snap. One of the most sensitive moments of the tale where Fontaine dresses up for Olivier and it doesn’t go as anticipated, the build up of that sequence feels short handed that might itch eerily to the readers of the book. Hitchcock jumping on a different genre train in Rebecca was a wise choice, his calculative and constructive steps to the final punch cannot be and is not less than a knockout.