Rebacca Film Analysis

Laurence Olivier looked for another life partner Joan Fontaine. The movie contains supernatural power in which the ghost of the dead can be summoned in the case of haunting the living so as to free the living from mystery. The death of Rebecca resulted from murder by Max de Winter due to the rage at her affairs (Greven, 2017). Since murder case cannot be left unpunished, death of Rebecca was engineered so that it can be considered to have resulted from an accident. Rebecca had died earlier before any events in the film and therefore she is never seen. De winter took her body and placed it on her boat and scuttled it to perceive the death accident (Hughes, 2016). Brethless (Godard, 1960) overview The film breathless was written and directed by Jean-Luc Godard and revolves around two wandering criminals Jean-Paul Belmondo and his girlfriend Patricia Francini.

The film brought a breakthrough to new style of filmmaking in French due to the bold visual style and unconventional use of jump cuts. Jean-Paul was a small-time thief who stole car, murdered a motorcycle policeman and wanted to free since they had become a wanted criminal. He therefore renewed a relationship with his girlfriend Patricia Frachini who was an American student pursuing journalism at Sorbonne. He carries guilt to the next marriage and is not able to disconnect with the death of his girlfriend since he engineered her death to be considered as caused by accident. He lives with psychological torture and his haunted by what he did to Rebecca (Hubner, 2018). On the other side, jean is declared an enemy of the public after murdering a policeman and stealing a car.

They had earlier met with Patricia for few weeks and after committing the crimes he runs to renew the few week old relationship so that he could escape to Italy in search of freedom since he could no longer stay in the country anymore. The villain in both moves show a conservative nature. For example, the Rebecca can also be classified in the genre of crime movies, since crime such as murder are portrayed, likewise, the film breathless could bear the same genre of crime since jean’s life with Patricia is full of assisted criminal activities though both movies revolve around love matters. This is because on both films it is difficult to have a grip of anyone’s heart.

Each person had their own interests since the signs of passion and great sense of attraction does not fully come out in the characters and the qualities are common in the men in the movies, qualities which can be regarded as icy qualities which contain the aspect that can make the movie Rebecca regarded so as a thriller. This can be seen from the use of unbridled fear, imagery, plot twist and perfect ending. For example imagery can be enunciated as Rebecca’s haunting presence which had great impact on viewers as well as the second wife of De Winter, the creation of the empty rooms and driveway to the old house (Heinke, 2017). After learning the twist another plot comes into play and this creates more revelations for the audience and also as a proof of creativity and hard work done by the writers and directors to come up with such amazing ideas that really have a smooth entertaining flow capable if catching attention of the audience Film Noir The film Rebecca was shot in black and white and in the form a gothic tale usually considered as film noir game in which the character who bore the name of the movie is never seen and is considered to have died before any events in the movie.

The movie depends on her reputation and recollections and her great presence in De winters life. The movie breathless lacks this quality. Film ideology explains the various ideas reflecting the social needs which influence individual’s actions and beliefs. The Rebecca film ideology is based love for material goods where Joan get married to wealthy Laurence who has not yet recovered from the past after loss of his wife, Rebecca (Näripea, and Dirk , 2018).  Repertory Movie Theaters of New York City: Havens for Revivals, Indies and the Avant-Garde, 1960–1994. McFarland, 2017. Heinke, Ralf Heiner. "Between Caméra Stylo and the Making of Images: Hitchcock’s Cinematographers. " Reassessing the Hitchcock Touch. Plantinga, Carl.  Screen Stories: Emotion and the Ethics of Engagement. Oxford University Press, 2018.