Daphne Du Maurier published this novel in 1951. It offered a romantic and mysterious story with many of her familiar features. The novel is set in the C19th, but offers no particular dates. The setting is Cornwall, and the book includes descriptions of the Cornish countryside and, importantly, the coastline and the sea. There is a Gothic feel to the novel, and there are traces of the influence of the Brontë sisters. The obvious reference is Du Maurier’s earlier classic, ‘Rebecca’. It shares the setting and the mystery from the past. However, instead of a young and naïve female narrator, we have a young, naïve and male narrator. This is Philip Ashley who has been bought by up an older landowning relative Ambrose. Early on Ambrose’s death takes Philip to Florence and later leads to his meeting Ambrose’s widow Rachel.
Rather as with ‘Rebecca’ the book offers an investigation of a woman; in the earlier novel this was the dead wife of Maxim de Winter; this later novel investigates Philip’s cousin Rachel. However, the final resolution of this story holds ambiguities whereas in ‘Rebecca’ the mystery is fully explained. Just as Rebecca is aided by the intimidating Mrs Danvers Rachel is aided by the more slippery Rainaldo: [slippery perhaps because he is Italian].
The first film adaptation of the book was produced by Twentieth Century Fox in 1952. In black and white and running 98 minutes the film was helmed by Hollywood professionals: script by Nunnally Johnson who also produced and direction by Henry Koster. The filmed starred Richard Burton as Philip and Olivia de Havilland as ‘my cousin Rachel’. This was Burton’s first film in Hollywood. Du Maurier was not keen on the initial screenplay and later unimpressed with de Havilland’s characterisation. She did, though, enjoy Burton’s Philip and some sequences actually filmed in Cornwall. The cinematography by Joseph LaShelle is finely done. And the visual chiaroscuro emphasises the Gothic feel more than the novel. There is a romantic and dramatic score by Franz Waxman. The screenplay is highly compressed: 98 minutes is really insufficient for the plot and characters. The setting of the film is the 1830s: information gained from Ambrose’s tombstone visited by Philip, something he avoids in the novel. Burton has Philip’s intensity and impetuosity but lacks the naivety in relation to women. De Havilland lacks the complexity of Rachel, but this is at least partly due to the scriptwriting. The film does retain the ambiguity of the novel, but the relationships do not convincingly prepare for this. On a happier note Don, the Labrador, survives avoiding his accidental death in the novel.
Now, in 2017, comes a new adaptation. The main production company is Fox Searchlight, who presumably retain the copyright to Daphne Du Maurier’s novel. It is a company project and writer and director Roger Mitchell was recruited to this. The film has received quite a few favourable reviews. It is in colour, with a ratio of 2.35:1 and runs ten minutes longer than the 1952 version. It has also enjoyed location filming in both England and Italy, so the film should offer settings that would meet the wishes of Du Maurier.
This is Mitchell’s first screenwriting credit, so that is an unknown. His previous directorial record does not offer a lot of relevance to this type of property. He did direct Hyde Park on the Hudson (2012) which I enjoyed and which has some slight parallels with this story. Rachel Weisz is cast as ‘cousin Rachel’. This would seem to be ideal. She has starred in some rather run-of-the mill genre films but also some fine dramas: of particular relevance here is her role as Hester Collyer in Terence Davies’ beautifully judged version of The Deep Blue Sea (2012). Sam Claflin plays Philip. Rather like the director how appropriate he will be is hard to judge. The ‘Pirates’ film and the ‘Hunger’ series’ have little in common with Du Maurier’s romantic mystery. I thought he was good in Their Finest (2017) as Tom Buckley, but that character is far removed from Phillip Ashley.
Some reviews praise the romance but are less enthused by the mystery. It will clearly be worth seeing. Will it match the great Du Maurier adaptation, David O. Selznick’s 1940 version of Rebecca directed by Alfred Hitchcock?