This gothic horror film deals with the saga of southern belle Maray Ayres, before and after her death. She starts off as a ghost, and through flashbacks, the audience learns about the mysterious Rebecca, no relation to Daphne DuMaurier's unseen antagonist, but certainly as powerful a spirit. The actual film follows the arrival of Rebecca's cousin (Wanda Hendrix), and Rebecca's alleged attempt to take over Hendrix's soul. Barry Coe plays a recovering soldier who falls under Rebecca's spell, giving her a motive for wanting to find a body to inhabit. Like Daphne DuMaurier's Rebecca, there's a loyal housekeeper, in this case the not as severe Giselle McKenzie, more of a mother figure (and quite lovely) than a forbidding presence.
Certainly, Rebecca is not presented as an evil woman, but encourigable and independent like her late mother whom her father calls a tramp during a confrontation. Like other gothic mysteries and horror films, this features a portrait of a major character, seen of course over the opening credits. The lengthy flashbacks minimizes the screen time of veteran actress Hendrix (supposed to be much younger), but the flashbacks are more interesting.
The actor playing the nasty father is certainly unforgettable, but unidentifiable because of the credits. Ayres is quite alluring as the ghostly Rebecca, and Coe ("Peyton Place") is quite verile. This is a type of film that was popular in the 1940's and 50's but send camp and melodramatic in most of the other variations, particularly because of over the top acting and dizzying photography. all of the elements come perfectly together here, making you very interested in how everything plays out. Elements of the 1970's story and detail techniques really work at making this truly fresh and alive.
Certainly, Rebecca is not presented as an evil woman, but encourigable and independent like her late mother whom her father calls a tramp during a confrontation. Like other gothic mysteries and horror films, this features a portrait of a major character, seen of course over the opening credits. The lengthy flashbacks minimizes the screen time of veteran actress Hendrix (supposed to be much younger), but the flashbacks are more interesting.
The actor playing the nasty father is certainly unforgettable, but unidentifiable because of the credits. Ayres is quite alluring as the ghostly Rebecca, and Coe ("Peyton Place") is quite verile. This is a type of film that was popular in the 1940's and 50's but send camp and melodramatic in most of the other variations, particularly because of over the top acting and dizzying photography. all of the elements come perfectly together here, making you very interested in how everything plays out. Elements of the 1970's story and detail techniques really work at making this truly fresh and alive.