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7.0/10
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A young man plots revenge against the woman he believes murdered his cousin, but his plans are shaken when he comes face to face with the enigmatic beauty.A young man plots revenge against the woman he believes murdered his cousin, but his plans are shaken when he comes face to face with the enigmatic beauty.A young man plots revenge against the woman he believes murdered his cousin, but his plans are shaken when he comes face to face with the enigmatic beauty.
- Nominated for 4 Oscars
- 1 win & 5 nominations total
Olivia de Havilland
- Rachel Ashley
- (as Olivia deHavilland)
Chet Brandenburg
- Townsman at Church Service
- (uncredited)
Margaret Brewster
- Mrs. Pascoe
- (uncredited)
Argentina Brunetti
- Signora
- (uncredited)
Hamilton Camp
- Philip - Age 15
- (uncredited)
James Fairfax
- Servant
- (uncredited)
Robert Haines
- Townsman at Church Service
- (uncredited)
Lumsden Hare
- Tamblyn
- (uncredited)
Nicolas Koster
- Philip - Age 10
- (uncredited)
Alma Lawton
- Mary Pascoe
- (uncredited)
Ola Lorraine
- Pascoe Daughter
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRichard Burton's posthumously-published diaries reveal that he accepted the role of Philip in this film because it was being planned as a comeback vehicle for Greta Garbo under the direction of his friend George Cukor, whom he regarded as one of the great Hollywood directors. He claims that Garbo personally told him she would only do the film with him as her leading man. After negotiations with both Garbo and Cukor fell through (Garbo never made another film, and Cukor was replaced by Henry Koster and he and Burton never worked together), Burton remained attached to the project, which was re-fashioned as a vehicle for Olivia de Havilland. Burton claims that de Havilland was impossibly arrogant following her recent Oscar win for The Heiress (1949), insisted on having sole above-the-title billing, and would not allow anyone to address her by her first name, only by "Miss de Havilland". He found this state of affairs preposterous and was rude about her for the rest of his life whenever the film (which he also disliked) came up in interviews.
- GoofsAmbrose's death is recorded as 1832 on his gravestone. Within a few months Philip, Rachel and others are shown celebrating Christmas in front of a decorated tree. The Christmas tree was not introduced into England until 1840 by Prince Albert.
- Quotes
Philip Ashley: Because I love her and nothing else! It isn't a little loving. It isn't a fancy. It isn't something you'd turn on and off. It's everything I think and feel and want and know. And there's no room in me for anything else. And never will be again.
- ConnectionsFeatured in Great Performances: Richard Burton: In from the Cold (1988)
Featured review
This movie reminds me of "Rebecca" as well. Both are dark sided, with women that are formidable to the men in question. Interesting that in both cases, these are thoroughly English men. While both women are compelling personalities and complicated to the men involved, I think they are very different, both in type and motivation.
I think Rebecca simply had a very skewed moral compass with underlying perversity. I think she knew when she did wrong and reveled in it – rather depraved actually.
However, Rachel is another story. I don't think she is actually sinister, but of a culture with ethics quite foreign -and skewed- to the rather straight laced English mindset. Remember, she is a certain European with very different ways of looking at things. What seems not quite cricket to Philip and the older Ambrose, needs no justification in Rachel's mind.
And I think she had the type of "tribal" loyalty that bound her to her own kinsmen in preference to these newly acquired English connections (husband, in Ambrose's case). That's why she could be so genuinely outraged by Philip's confrontations and so strong in her own representations of matters. She truly saw no reason not to take the mile when she was offered an inch. Any implication of an implied betrothal or personal commitment in the gift of very valuable family jewelry was dismissible with her. This ambivalence also included being somewhat free with her kisses.
As for it seeming implausible that Philip could be so rearranged by her, well, that is an old story. Strong women have been turning men inside out for centuries. Recall that Philip is a relatively unsophisticated young man. Ambrose, while advanced from him, was about as inexperienced with persons so unlike his countrymen. What seems clear and forthright to a rather sheltered young man, can melt away when confronted with the formidable presence and charm of a more sophisticated and attractive woman.
Again, I do not think Rachel set about with cunning and craftiness. I think she was of a mindset that saw no problem with acquiring as she did and with sharing with her fellow countryman with whom she had a much longer and deeper tie than this simple, probably seemingly rather cold Englishman – either in the case of Ambrose originally and later with Philip. Whether or not she actually did away with Ambrose is up for conjecture. But her total confounded disbelief when she fell into Philip's literal trap at the end was genuine. I think her sense of ethics and moral justification were so diverse from Philip's that he could not but think of her as deliberate in cunning. The combination of expressed affection and seeming duplicity were maddeningly incomprehensible to him.
Rachel violated Philip's expectations and moral code on several counts. His obsession with her and perception of that drove him to violate it himself. (not revealing the end)
I think Rebecca simply had a very skewed moral compass with underlying perversity. I think she knew when she did wrong and reveled in it – rather depraved actually.
However, Rachel is another story. I don't think she is actually sinister, but of a culture with ethics quite foreign -and skewed- to the rather straight laced English mindset. Remember, she is a certain European with very different ways of looking at things. What seems not quite cricket to Philip and the older Ambrose, needs no justification in Rachel's mind.
And I think she had the type of "tribal" loyalty that bound her to her own kinsmen in preference to these newly acquired English connections (husband, in Ambrose's case). That's why she could be so genuinely outraged by Philip's confrontations and so strong in her own representations of matters. She truly saw no reason not to take the mile when she was offered an inch. Any implication of an implied betrothal or personal commitment in the gift of very valuable family jewelry was dismissible with her. This ambivalence also included being somewhat free with her kisses.
As for it seeming implausible that Philip could be so rearranged by her, well, that is an old story. Strong women have been turning men inside out for centuries. Recall that Philip is a relatively unsophisticated young man. Ambrose, while advanced from him, was about as inexperienced with persons so unlike his countrymen. What seems clear and forthright to a rather sheltered young man, can melt away when confronted with the formidable presence and charm of a more sophisticated and attractive woman.
Again, I do not think Rachel set about with cunning and craftiness. I think she was of a mindset that saw no problem with acquiring as she did and with sharing with her fellow countryman with whom she had a much longer and deeper tie than this simple, probably seemingly rather cold Englishman – either in the case of Ambrose originally and later with Philip. Whether or not she actually did away with Ambrose is up for conjecture. But her total confounded disbelief when she fell into Philip's literal trap at the end was genuine. I think her sense of ethics and moral justification were so diverse from Philip's that he could not but think of her as deliberate in cunning. The combination of expressed affection and seeming duplicity were maddeningly incomprehensible to him.
Rachel violated Philip's expectations and moral code on several counts. His obsession with her and perception of that drove him to violate it himself. (not revealing the end)
- misctidsandbits
- Sep 23, 2011
- Permalink
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- Also known as
- Daphne du Maurier's My Cousin Rachel
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- See more company credits at IMDbPro
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- Budget
- $1,200,000 (estimated)
- Runtime1 hour 38 minutes
- Color
- Aspect ratio
- 1.37 : 1
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