The women in the film are rather childish - speaking of the quality. Danvers - who clutches to her late boss's spirit and memory like a baby would to their mother's breast. De Winter," she goes about as the heroine of an entire film without leaving an impression of what she is called anywhere, almost bringing to life the fact that our entire visit to her days at Manderely are really about the non-existent Rebecca, whose initials and signature are found lavishly stamped on stationary, scribbled on obligatory notes, monogrammed on fabrics and said allowed almost everywhere she turns, especially by the dreaded, dour Mrs. Oddly enough, we never even catch the name of the "new Mrs. A "Crime" genre could also be applied to the film, for the entire tone pulls us constantly toward the feeling of finding something out, uncovering a secret and the detection of a clandestine past squandered within the walls of Manderley like a man in the desert would use a water-finding rod to relieve his thirst that "something" takes the form of the dead former Mrs. There is a dark, foreboding feeling to the couples' devotion that can be felt from even their first drive to Manderley in which it begins to rain on their heads while Maxim drives the convertible. Keeping a woman and all the confusion and emotions she possesses at arm's length is something that Maxim De Winter does wonderfully. It seems that many of Hitchcock's men possess these icy qualities, for such qualities do lend themselves to the power of the "Thriller" genre. Although we see him kissing her on the cheek, or comforting her briefly, these signs of affection do not envelope us in their passion or attraction. Not to mention the cool, distant and almost insensitive approach that Maxim takes in regards to his new wife.
It seems as if everyone is on audition, hoping to get into a part but not themselves. We really don't have a grip on anyone's "heart," actually. So, there is a romantic air to the film but it is more of a romance between egos and assumptions than of any heart to heart connections. In fact, there is a slight anti-romantic gist to the story we watch, having the presence of some other, larger and more powerful woman looming over the new wife's head at all times. Thus, the genre of "Romantic Thriller" could fit more appropriately.
Although the film highlights the new relationship between Maxim de Winter and his young, skittish blushing bride, one would be hard-pressed to stamp the genre of "Romance" on the piece too quickly, for it is painfully obvious from the beginning that a cavernous distance exists between the newlyweds. The story, in itself, is a mysterious narrative taken from the successful fictional work of Daphne Du Maurier.
It is Hitchcock's first American film, released in 1940, as he was brought from Britain by Producer David Selznick a few years earlier to direct the piece here. I have chosen to analyze Rebecca in terms of Hitchcock's use of genre and how it contributes to, complicates or takes away from the film.
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