‘Rebecca’ (1997) is more faithful to du Maurier’s gothic tragedy

“Masterpiece Theatre” is a rather presumptuous premise, if you think about it, as the show (1967-2008) presented brand-new adaptations that may or may not be masterpieces. The idea is that at least the source material, usually a classic work of literature, is a masterpiece.

The PBS (by way of the U.K.) series lived up to its name, though, with “Rebecca” (1997), a 3-hour adaptation that might not improve upon Hitchcock’s 1940 classic, but it’s grippingly faithful to Daphne du Maurier’s novel. So much so that if “Rebecca” is assigned for your class or book club, you could watch this movie to cheat.

Since my library had it on DVD, I checked this one out, although there actually are several “Rebecca” adaptations since Hitchcock’s. There was a 1-hour American TV version in 1962, a 3-hour British TV version in 1979 (much-praised but not released to home video), this one, and a 2-hour Netflix movie in 2020.

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The book-accurate age gap between Maxim de Winter (Charles Dance, “Alien 3”) and his shy but increasingly assertive new bride (Emilia Fox) is among the 1997 version’s standout traits.

The actors were 51 and 22 at the time, and they have old-school chemistry that fits with this time that the world forgot. British nobles’ jobs somehow involved simply running an estate, inexplicably employing enough staff to operate a good-sized hotel – even though they’re serving only two people and a dog. Much is made of the romantic pursuits of Max – the 1920s equivalent of a tabloid personality – but if not for cultural hangups, he could easily house 50 wives at the castle.

This cast rules the castle

Dance is virile enough to believably catch ladies’ glances and Fox – the daughter of Joanna David, who played the same role in 1979 – has big eyes and a face-lighting smile. She’s sneaky good in a daunting role. Similar to Joan Fontaine’s performance, we believe she’s timid yet she isn’t lost in the sweeping shots of the vast Manderley castle.

Throw in Diana Rigg as the coolly menacing Mrs. Danvers and the groundwork is laid for one of the more respectable Hitchcock remakes. “That guy” actor Jonathan Cake steps to the fore as Favell, Max’s rival for the affections of the late title character (despite being her cousin, another old-school aspect). In a fun appearance for “Star Wars” fans, Ian McDiarmid plays the formidable judge leading the inquest.

Faye Dunaway has fun as manhunter Mrs. Van Hopper in the opening segment. Because Max casually fends off the aggressive Van Hopper and politely pursues her quiet paid companion, the miniseries pulls off the delicate trick where we’re not weirded out too much by the age gap.

Perhaps the biggest hook for people watching every “Rebecca” adaptation is this is the only one with Rebecca in it. She’s played by Lucy Cohu, and director Jim O’Brien preserves Rebecca’s foreboding nature by focusing on her manipulative eyes and sensuous lips, with cigarette smoke curling around her. A bit of the femme fatale intrudes on our gothic romance.

The miniseries is shot in England, and in creating the mood of Manderley it actually improves upon du Maurier’s overly decompressed prose. Granted, 3 hours is decompressed, too, but we’re engrossed by the characters or mood at any given point. Particularly in the sequence where Mrs. de Winter enters Rebecca’s bedroom and Danvers lurks, O’Brien outright crafts gothic horror.

A fresh ending for those who only know Hitch’s version

In Hitchcock’s film, the characters are the thing, so much so that when it awkwardly adjusts du Maurier’s mystery around Rebecca’s death at sea to fit the censor’s mold, it doesn’t hamper a viewer’s enjoyment. Arthur Hopcraft’s 1997 teleplay appealingly preserves du Maurier’s final act, and it will be freshly gripping to viewers who had only seen Hitchcock’s film.

True, Mrs. de Winter gets lost here, but the drama over a new discovery on the sea floor is palpable. And because the wife had been our focal point, we’re still thinking about what this plot twist means for her loyalties, and what that says about her morals.

Also making up for what Hitch wasn’t allowed to do, “Rebecca” ’97 emphasizes Mrs. Danvers’ unrequited romantic love for Rebecca. I’m usually not one to read coded gay interpretations when they aren’t explicitly stated, but it’s hard to overlook the way Danvers sniffs Rebecca’s nightgown and curls up with it on her bed.

Often when watching later adaptations of material Hitch tackled first, it illuminates Hitch’s mastery and the new version ends up a pale shadow. Interestingly, “Rebecca” 1997’s script is arguably sharper than the 1940 version (and it’s unquestionably more faithful), and Dance and Fox capture the age-gap drama more, yet Hitchcock’s version is still more of a masterpiece.

That said, “Rebecca” 1997 is not lost in its shadow. It comes close to earning a “masterpiece” label in its own right.

RFMC’s Alfred Hitchcock series reviews works by the Master of Suspense, plus remakes and source material. Click here to visit our Hitchcock Zone.