86
Metascore
16 reviews · Provided by Metacritic.com
- 100New York Daily NewsKate CameronNew York Daily NewsKate CameronThe suspense of the story is magnificently sustained throughout the film, which didn't surprise us, as maintaining suspense in a story has always been Director Hitchcock's forte
- 100Slant MagazineChuck BowenSlant MagazineChuck BowenA key film in Alfred Hitchcock’s evolution as a master explorer of sexual neuroses.
- 90The New York TimesFrank S. NugentThe New York TimesFrank S. NugentAn altogether brilliant film, haunting, suspenseful, handsome and handsomely played.
- 89Austin ChronicleMarjorie BaumgartenAustin ChronicleMarjorie BaumgartenThe performances are first-rate, and Anderson as the obsessively attached maid Mrs. Danvers is a perverse gem.
- 88ReelViewsJames BerardinelliReelViewsJames BerardinelliWith Rebecca, he (Hitchcock) illustrates an aptitude for crafting not only psychological terror but drama and romance.
- 80Picture is noteworthy in its literal translation of Daphne du Maurier’s novel to the screen, presenting all of the sombreness and dramatic tragedy of the book in its unfolding. More important, it commands attention in establishing Joan Fontaine as a potential screen personality of upper brackets.
- 75Chicago ReaderDave KehrChicago ReaderDave KehrThrough its first two-thirds it is as perfect a myth of adolescence as any of the Disney films, documenting the childlike, nameless heroine's initiation into the adult mysteries of sex, death, and identity, and the impossibility of reconciling these forces with family strictures.
- In its essence, Rebecca is another entry in the Wuthering Heights school of dour, somber, psychological drama, steeped in ultra-British atmosphere. Though overlong, it is beautifully done.
- 70Time OutTime OutSomewhat tonally inconsistent; following the social comedy of Monte Carlo and suspense of Manderley, the pace slackens in the crime procedural of the final half-hour, which is all tell and no show. Still, Hitchcock shows superb technical control and attends to his trademark motifs, from monstrous mother figures to the fetishisation of clothing (strong foreshadowings of ‘Vertigo’).