[Quick Summary: The second Mrs. de Winter struggles not to be intimidated by the shadow of the first Mrs. de Winter.]
TWO THOUGHTS:
1) PROTAGONIST W/O A NAME. This is the first script that I've seen in which the main character has no name and is never called by her name.*
2) FORESHADOWING. I think this is still one of Alfred Hitchcock's most famous films** because of its foreshadowing what "I" is about to face.
Why does it work? One element is the atmosphere of unresolved feelings.
ex. Everyone else has opinions about Rebecca, the first Mrs. de Winter, except the protagonist and the audience. It feels like we are lagging behind.
How does it work? I think it's a snowballing of a string of hints and clues.
ex. The protagonist only gets pieces of the story. It keeps the audience engaged to try to put them together and see what comes next.
For example:
- The protagonist, "I", has been paid companion to Mrs. Van Hopper.
- She and Maxim de Winter have just announced their engagement to Mrs. Van Hopper in her hotel room.
- Maxim leaves the room to make wedding arrangements.
- Mrs. Van Hopper is the first to drop sly innuendos that can be taken two ways.
- She plays with "I's" fears of losing Maxim.
- The scene below is from the shooting script. The "official" script in the anthology is slightly different.
[NOTE: I have bolded several innuendos and hints below.]
Mrs. Van Hopper walks to "I", dropping all pretense.
MRS. VAN HOPPER: So this is what has been happening during my illness! (She smiles unpleasantly.) Tennis lessons my foot! (she goes close to "I") I suppose I've got to hand it to you for a fast worker. How did you manage it? Still waters certainly run deep! But it's a lucky thing for you that you haven't a family to ask embarrassing questions. When did you first meet him?
"I": The day after we arrived here.
MRS. VAN HOPPER: Really! And all this time you've been listening to me talk about him - and never a peep out of you. And I took you for an innocent, unsophisticated child!
She takes a few steps away from "I" CAMERA FOLLOWING HER, then turns quickly round.
MRS. VAN HOPPER (taking a cigarette out and lighting it): You realize that he's much older than you.
SEMI CLOSE UP
"I" slightly on the defensive.
"I": I'm old for my age.
Mrs. Van Hopper comes back into the picture and laughs.
MRS. VAN HOPPER: You certainly are.
She leans closer to "I" and speaks in a lower tone.
MRS. VAN HOPPER: Tell me, have you been doing anything you shouldn't?
She looks "I" up and down appraisingly like a judge at a cattle show. "I" backs away from her
"I" (with some indignation): I don't know what you mean.
Mrs. Van Hopper shrugs her shoulders. Her cigarette still in her mouth, she takes out a compact and starts to powder her nose.
MRS. VAN HOPPER: Oh well - never mind. I always did say Englishmen have strange tastes. But you'll certainly have your work cut out as mistress of Manderley. To be perfectly frank with you, my dear, I can't see you doing it. (she strolls out of picture)
SEMI CLOSE UP
She strolls into picture by the mirror as she continues:
MRS. VAN HOPPER: You haven't the experience, you haven't the faintest idea what it means to be a great lady. Personally, I think you're making a big mistake - one you will bitterly regret.
Through the mirror we see "I" watching her unhappily, and Mrs. Van Hopper starts to adjust a few stray hairs under her hat.
MRS. VAN HOPPER: Of course, you know why he's marrying you, don't you? You haven't flattered yourself that he's in love with you. The fact is, that empty house got on his nerves to such an extent he nearly went off his head. He just couldn't go on living alone.
SEMI CLOSE UP
During the last long speech we cut in a flash of "I" getting more and more unhappy and angry.
"I": You'd better leave, Mrs. Van Hopper. You'll miss your train.
CLOSE UP
Mrs. Van Hopper turns and faces "I". A queer, twisted smile crosses her face.
MRS. VAN HOPPER (with withering sarcasm): Mrs. de Winter. (With a sour laugh) Good-bye, my dear, and good luck.
She turns and flounces out. The slam of the door is heard.
CLOSE UP
"I's" worried face as she looks after her.
FADE OUT.
WHAT I'VE LEARNED: The hints and clues don't need to be obvious. Just enough to play with the character's weakness or fears. It can then escalate from there.
Rebecca (1940)(shooting script, 3/26/40)
Rebecca (1940)(anthology)
by Robert E. Sherwood and Joan Harrison
Based on the novel by Daphne du Maurier
*The editors of this anthology note: "This story is the dramatization of a first person narrative related by the second Mrs. De Winter. Except for her formal name, later in the story, she can be known to us only as "I" and is therefore so called throughout."
**This was Alfred Hitchcock's first American film, and garnered 11 Oscar nominations, including one for best screenplay.
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