Shortly before his death, Ambrose manages to alert Philip: his wife is killing him slowly. On the Cornish coast, the wealthy Ambrose Ashley John Sutton raises his cousin Philip like a son since he was a baby. He returns to Cornwall and soon Rachel comes to the town and Philip invites her to stay in his property. Olivia deHavilland is also amazing performing an ambiguous character. After all, his father died of a brain tumor. Instead of strangling her like he said he would, he falls in love. I'm not really an Olivia deHavilland fan, but there are a couple of movies of hers that I really like her performance.
Are the emotions believable, are the performances valid, even today, is a better question of its power to be a historic legends. Elizabeth Taylor liked this film. Her eyes express a lot in her close ups. But she does not accept to get married and Philip soon gets sick. This film, based on the Daphne du Maurier's novel is practically unknown, as it appears to have been forgotten; it never turns on reruns, but it's worth a look nevertheless.
They frequently have lunch or go to the church with Philip's godfather Nicholas Kendall Ronald Squire and his daughter Louise Kendall Audrey Dalton. This is a must-see for anyone interested in acting, and complex, nuanced film story telling. The mysterious Rachel does not arrive on the scene until well into the film, when she comes to England to visit Philip; director Henry Koster shrouds her arrival in mystery and keeps her back to the audience for several minutes longer, until she is revealed to both Philip and the audience. Richard is determined to prove Olivia's guilt, so he stays on at the house to try and uncover clues. The film's main problem is that it is never made clear whether or not Rachel murdered Ambrose or whether she is plotting to kill Philip.
Instead he meets Rainaldi, her friend and lawyer, who does not inspire him with confidence. He is much better here than in many of his later performances where he seems to have studied his pout a bit too much. After an idyllic outset, the situation deteriorates. Instead he meets Rainaldi, her friend and lawyer, who does not inspire him with confidence. Nevertheless, Burton is radiant with passion and eloquent line-delivery, despite the romantic chemistry hasn't been convincingly justified, it is hard for audience to concur with Philip's obsession with Rachel, while there is an attractive and sensible ingénue Louise Kendall Dalton around, whom he can merely treat as a young sister. One might have thought that the ambiguity surrounding Rachel would have given De Havilland a problem as to how the character should be played.
Given a choice between no background music and Franz Waxman's score, I would gladly have opted for no music. The sets look quite realistic, elegant, and authentic to the period and evoke an appropriate sense of bleakness. And although I was never a fan of Richard Burton, he delivers a melancholy Oscar-nominated performance with passion and intensity. She had a special beauty. Shortly before his death, Ambrose manages to alert Philip: his wife is killing him slowly. Be prepared to turn down the volume from time to time.
Instead of strangling her like he said he would, he falls in love. At a time, Ambrose, who has been advised by his physician a warmer climate, leaves for Tuscany. Both the source novel and the film play well the trumping card, aka, the true colour of Rachel, is she a cold-hearted schemer or just an unfortunate woman shrouded by tragedies, or perhaps she lurks in between. Art piece, bitter-sweet, as a study of wild youth and seasoned maturity as Blind Love? Then he believes that his suspicious are unfounded. My Cousin Rachel is one of them, and The Heiress is the other. Some time later, Rachel announces her coming.
There he meets and marry Rachel, a half-Italian cousin of his. That angle gives this most recent film adjustment a visual brilliance that may appear to be inconsistent with its paranoiac qualities, yet the film really accomplishes an at any rate discontinuously natural feeling politeness of an instructing execution by Rachel Weisz in the title part. Her performance here is an acting lesson for film, especially as this role required the difficult job of balancing the audiences doubts about whether she is good or bad. After an idyllic outset, the situation deteriorates. This film was made long before I was born, but for any DuMaurier fan, it is a gift. Du Maurier may have been blamed for having stolen from herself as to My Cousin Rachel, since certain plot components are at any rate reminiscent of Rebecca. Notify me of new posts by email.
Joseph LaShelle's masterful black-and-white cinematography was among the film's four Academy Award nominations and wraps the moody estate and the turbulent sea crashing against rocky cliffs in deep shadows and striking images that deepen the proceedings. Philip rushes to Italy to see his cousin but the man was dead and buried by the time he arrived. Ever-elegant Olivia de Havilland displays just enough cool reserve and mystery as the ambiguous title character, while the young Richard Burton is appropriately brooding as he falls under her spell even though he half believes her to be a murderess. Her source novel of Rebecca was quite less uncertain than the film, wheras My Cousin Rachel in its unique shape toed an extensively better line in plainly expressing regardless of whether its main character was planning something sinister. Obviously this film was recognized at the time it was made. After an idyllic outset, the situation deteriorates. Willing to sort out the truth, Philip goes to Ambrose's place but he does not find Rachel, who has gone away.
I don't intend to examine all the conflicting evidence with which we are presented, as fedor8 has already done this in his helpful review which sets out both the case for Rachel's innocence and the case for her guilt. There he meets and marry Rachel, a half-Italian cousin of his. Another good contribution comes from the lovely young Audrey Dalton, in her debut film, as Louise, the young girl who loves Philip but fears losing him to Rachel. His widow was not there and Philip immediately leaves to return to his estate. The film does, however, also have its strong points.