Rebecca: The Making of a Hollywood Classic

by Jennifer Leigh Wells

The making of the Oscar® Award-winning classic Rebecca is detailed in this enlightening and fascinating book which delves into the behind the scenes drama, struggles and passion that went into the filming of this iconic movie. Biographical sketches of key figures such as author Daphne du Maurier and leading actors Joan Fontaine and Laurence Olivier are included, along with photographs and trivia.

Genres: Nonfiction

109 pages, Kindle Edition

First published September 23, 2013

Reviews

[LaDonna · Rating 5 out of 5]

I will admit that Rebecca has long been one of my favorite books and movies, and I will also admit that I didn't know much backstory of either when I saw this listed as an ARC (technicality time - I received a free copy of this book in return for an honest review) in the Making Connections group. I was thrilled to be one of the first to request it, and this is a situation that I most certainly learned a lot from what I read.

My husband often refers to me as a communist for the many movies he considers classics that I have never seen. Voracious reader I am, cineophile not so much. I have learned to enjoy watching TV and movies with him, but it's just never been a big thing to me. No one in my house watched much on tv growing up if it didn't air on PBS and the only movies we made it a point to see were James Bond. Where my short list of favorite movies - including Rebecca, Harvey, Harold and Maude and a few Alfred Hitchcock titles - comes from is anyone's guess, but Manderley has been seared into my mind for many years.

Point of all that being I went into this book clueless that Alfred Hitchcock had directed Rebecca, or that it was one of his first big movies. I didn't realize that the movie had won a number of awards, was produced by the same guy who produced Gone With the Wind, at roughly the same time. I didn't have any idea that it saved Joan Fontaine's career and made her a star. I didn't know the movie began filming around the time of the release of the book (and was very surprised to find out that Daphne du Maurier also wrote the story Hitchcock's The Birds was based on.) I just know I love both the book and the movie.

I also love all the information and behind the scenes stories included in this well researched and easy to follow book. For all my actual film naivety, I have read a number of Hollywood bios over the years, so many names were very familiar to me, but the interesting way that all their stories come together in this one movie were simply fascinating to me. Much to my family's chagrin it definitely made me want to see the movie again, so next weekend's family movie will be Rebecca.

If I had to come up with a complaint it would be about the pictures in the book and the way they had to be credited, but I guess that is a byproduct of the ebook. It really took nothing away from the enjoyment I got in reading it. Now I think it is time to revisit Ms. duMaurier's works, and maybe spend a bit more time at Tara and with Mr. Hitchcock.

[Lisa · Rating 4 out of 5]

This book is an interesting description of the cast, crew, and other aspects of the making of the movie adaptation of Daphne du Maurier's great novel, Rebecca. Although my academic soul wanted a footnote to every fact, that would have been unwieldy and probably doubled the size of the book--the author does give a bibliography. The description of the conflicts between producer David O. Selznick and director Alfred Hitchcock was especially interesting--and what an all-star cast! The book would have benefited from a run past a good copyeditor (lots of comma problems, among a few other things), but I enjoyed it and it made me want to read the book again and see the movie again--high praise for this genre of writing! A good, short read.

[Victor Carson · Rating 2 out of 5]

I read Daphne du Maurier’s novel Rebecca several years ago, which led to my renting the Alfred Hitchcock/David O. Selznick movie version a few months later. A friend on Goodreads recommended that I also read Jennifer Leigh Wells’ new book about the making of the movie. I am not sure, even now, if Jennifer Leigh Wells is related to Vivien Leigh, who played Scarlett O’Hara in Gone With The Wind and wanted to play the part of the new Mrs. De Winter in Rebecca. I also do not understand why the author uses the name Jennifer Leigh Wells but is listed as Jennifer Lafferty on the copyright page of the book.

I found this book somewhat interesting for some of the insights into the selection of the cast and the personalities of Hitchcock and Selznick. The movie was made so long ago, however, that few people, including myself, recall much about the once-famous names who were involved. I am almost 70 but even I was born after the making of the movie version of Rebecca. In fact, as this book mentions, Hollywood is considering a remake of the movie. I did not learn enough from this book to rate it very highly. If the author has insider information about the making of the movie, the book does not reflect much of that information. In fairness to the author, I will quote a few noteworthy parts:

One of several coincidences: Rebecca was what some consider the quintessential gothic novel, Charlotte Brontё’s Jane Eyre. Film adaptations of both novels would star Joan Fontaine in two of the actress’s most memorable roles.

The mistreatment of actresses by Hitchcock: Hitchcock appeared to use manipulation to extract what he wanted from Fontaine, playing on her natural insecurities and vulnerabilities. He created the impression that the other principal cast members disliked her. . . . The ill treatment Fontaine claimed to get from Hitchcock was not limited to her. He had a habit of isolating certain leading ladies whom he would manipulate and try to control. The most extreme examples of this behavior would be the claims Tippi Hedren would make decades later

An outrageous comment by Joan Fontaine’s mother at the red-carpet grand opening of the film: What was probably the most memorable red carpet moment of the evening was when Lilian was being interviewed by columnist Louella Parsons and made a comment concerning her daughter’s sincerity, remarking on how much more believable Fontaine seemed on screen than in real life.

The casting for various radio theater productions of Rebecca after the film was released: There were several radio productions including an episode of The Screen Actor Guild Theater which starred Joan Fontaine with her then husband Brian Aherne in 1943. . . . Another Lux Radio Theater production in 1950, more than a decade after the film was made, starred now husband and wife Sir Laurence Olivier and Vivien Leigh (Lady Olivier). This must have been little consolation for the couple, who had wanted so much to star together in the motion picture.

[☆Ruth☆ · Rating 2 out of 5]

This is a short book about the making of the film 'Rebecca'. The writing is reasonably good, although the style could be improved and would benefit from a thorough editing.
On the whole I found it interesting, it flows along swiftly enough to avoid becoming boring and it made me realise how many films are out there that I would love to see. I would have liked more information about the actual day to day activity on the set with details of the personalities and interactions of the players. There were short biopsies about each of the principles and the bit part players, which read more like a long list of facts, rather than part of a story. If this had been a thesis I would have given it an 'A' but as a book it definitely 'needs more work'.

[Rosemary · Rating 3 out of 5]

Since Rebecca is one of my favorite books, I enjoyed David O. Selznick’s 1940 film of the same name (in addition to other television and film adaptations). I read Rebecca: the Making of a Hollywood Classic by Jennifer Wells and then watched the original film again commercial-free on TCM. Jennifer Wells’ book added to my enjoyment and background knowledge about the film. The book even covers stars who were considered for parts but didn’t make the cut and how the Production Code Administration required Selznick to alter Rebecca’s fate from that written in Daphne du Maurier’s 1938 novel.
Although I liked the book I observed that it could have benefited from more careful editing and that the text reminds me of a research paper.
(Note: I won this book from Goodreads First Reads.)

[Swapna Peri · Rating 5 out of 5]

Jennifer Lafferty’s "Rebecca: The Making of a Hollywood Classic" is a captivating deep dive into the adaptation of Daphne du Maurier’s Gothic masterpiece, tracing how the haunting corridors of Manderley made their way from page to screen. Lafferty meticulously chronicles the creative, personal, and often clashing forces behind Alfred Hitchcock’s first American film—offering not only a production history but also a cultural meditation on why Rebecca endures. From Selznick’s perfectionism to Hitchcock’s auteurist quirks, the book reveals how their creative tug-of-war shaped a film that remains as psychologically rich as it is visually iconic.

What makes this book especially compelling is its unflinching look at the complexities of adaptation. Lafferty does not romanticize the transition from novel to film; instead, she critically examines the compromises in character portrayal and narrative focus that occurred—particularly the softening of the second Mrs. de Winter’s arc and the dilution of Rebecca’s menace. This discussion is elevated through comparative insights on later adaptations, most notably the 2020 Netflix version, and how shifting cultural values around gender and power continue to alter the lens through which the story is told.

Lafferty also weaves in incisive biographical portraits of key figures—Daphne du Maurier, David O. Selznick, and Alfred Hitchcock—highlighting how their personal obsessions and artistic contradictions shaped Rebecca’s final form. Du Maurier's discomfort with the fame her novel brought, Selznick’s compulsive control, and Hitchcock’s enduring mistrust of authority all surface as thematic echoes in the film itself. The result is a work that’s not only about cinema but also about the delicate psychology of its makers, offering readers a multilayered portrait of ambition, authorship, and the female Gothic.

What elevates this book beyond typical “making-of” chronicles is its critical voice—Lafferty does not shy away from questioning canonical interpretations. Whether unpacking the film’s subtle queerness, exploring its controversial moral undertones, or celebrating the unsung heroes like Kay Brown and Alma Reville, she challenges readers to reconsider Rebecca as more than a period piece. It is a story reborn through its adaptations, and Lafferty’s book proves itself essential for cinephiles, literary enthusiasts, and anyone interested in the intersection of gender, power, and art in 20th-century storytelling.

[Christine Sinclair · Rating 2 out of 5]

Rebecca is one of my favorite movies, but this book doesn't do it justice. There are many typos, the writing doesn't flow, and on page 84, the size of the type changes. The photographs were downloaded from the internet. This is clearly a self-published book, and although it's obvious that the author is a big fan of the film, it is amateurish at best. Harsh, but true.

[Mollydee · Rating 4 out of 5]

(May Contain Spoilers)

This is an amazingly encompassing book about the classic film "Rebecca". The author really pulled together all of the most interesting information to help us understand how this film came about. I am a huge fan of the movie so I had to read this book.

Wells starts out mentioning a lot of major players in the film. And all the woman behind the men in the film. It was very interesting that even back then, woman were running the show. At least that is how I read it.

The producer of "Rebecca", David O. Selznick, was instrumental in bringing the director, Alfred Hitchcock, to America to work on this film. In fact, Selznick was instrumental in getting a lot of movies produced at that time and pulling a lot of leading ladies from other studios to come work for him. His behind the scenes work and attention to the tiniest of details was amazing to read about. He was also responsible for some of the most iconic pictures of all time including Gone With The Wind, A Star Is Born, and Duel In The Sun.

The thing I found the most interesting is the book, Rebecca by Daphne du Maurier, has never been out of print since its publication in 1938. That is pretty amazing.

The book explains how hard Selznick was to work with and sites many examples of this. In fact when asked, Hitchcock's daughter remembers that this was her father's favorite film but Hitchcock would say differently. Selznick was known for his obsessive memo writing. The most fascinating fact is from his memos dictated from 1916 when he was 14, to 1965 when he died,
he dictated enough memos to fill 2,000 file boxes.

On the set of "Rebecca", Hitchcock and Selznick butted heads but "Rebecca" was Hitchcock's first American film and the one his daughter loves best. He was very careful to pretend he was listening to Selznick but do things the way he wanted them done. My favorite quote from this book is the following ""Hitchcock, who was annoyed by Selznick's continual interference, tried to cope with the matter by pretending to go along with Selznick's suggestions then doing things his own way". But despite all of the problems that arose, Selznick said he would only work with Hitchcock.

The book then talks about the script and curiously enough Daphne du Maurier turned down the chance to write the screenplay. A man named Michael Hogan who got little credit did most of the work.

Because times were what they were and movies could be not released because of language or sexual situations, Selznick had to change a big part of the book where Rebecca gets murdered because if they followed the book and had the man murder her with no consequences, they would be sure to be a blip on the morality radar and have a chance of not getting the film made. You can read in the book what they came up with instead. Other than that "Rebecca" had nothing outright or landish that would get the movie pulled.

Then the book gets into talking about the whole process of casting the leading lady. A very long and very interesting process that caused a lot of problems.

Then there was the casting of the leading man. And in casting both the leading roles, the director and producer butted heads.

Next, the book goes on to talk in detail about how the supporting cast came together to make the film even better.

I don't want to give all the surprises away but things like the set and how it was made, and where the movie was shot is discussed in the book.

Also discussed is the tempo of the movie regarding a quick or slow moving film and who wanted what.

As far as our leading lady, Hitchcock did many things to make Joan Fontaine feel insecure. He turned most of the cast against her and left her feeling cold and insecure, fatigued and weak. It is believed he did this to get her to act up to his standards.

Hitchcock was also described by many of the woman as being very vulgar. They did not want to be around him.

As far as cinematography, cinematographer George Barnes came from 20th Century Fox and he was "a master at lighting and noted for his soft-edged deep focused photography." He was nominated for eight Oscars.

Composer Franz Waxman was nominated for an Oscar.

The book also explains all of the other awards that Rebecca either won or was nominated for.

And the book ends with information on the radio and television adaptions, remakes, spoofs and bollywood films that were made from "Rebecca". And one very special surprise at the very end of the book.

As someone who loved the movie Rebecca, I really liked this book. It was an easy read and it was so fascinating to find out all of the backstage goings-on. If you look at IMDB, which I always use for my movie information, a lot of their information is incorrect or missing. If you have not seen Rebecca, see it first of all. And then read this book. If you are a lover of the cinema, especially old movies like what they show on Turner Classic Movies, you will probably love this book and recognize a lot of familiar names of the time. So basically see "Rebecca" the film and read Rebecca by Jennifer Leigh Wells.

[Tony Moral · Rating 5 out of 5]

The film adaptation of Daphne du Maurier's Rebecca holds a fascinating place in Hollywood movie history. Produced by David O. Selznick in 1939, it was the first film that Alfred Hitchcock directed in America, and would mark the start of his career working within the Hollywood studio system. The collaboration of two headstrong auteurs, Selznick and Hitchcock, led to a battleground during production, with Selznick sending Hitchcock a barrage of memos and infamously complaining of his Jigsaw editing, which ensured that Hitchcock would get his director's cut in the finished film. Hitchcock resented Selznick's interference so only filmed the minimum that he thought was necessary, giving Selznick, who was famous for tinkering in the edit, little choice but to accept Hitchcock's editorial choices. Selznick was in the middle of filming Gone with the Wind during the production of Rebecca, but couldn't resist making his authorial stamp on what was to be Hitchcock's American debut.

Jennifer Wells charts the engaging story from genesis, writing, casting and filming of du Maurier's much loved classic. The prose is crisp and fluid, as we are introduced to all the major players, with special emphasis on the contenders for the pivotal roles of Maxim de Winter and the second Mrs. de Winter, famously played by Laurence Olivier and Joan Fontaine.

What happened next on the set is the stuff of Hollywood legends, which Wells recounts with lucid and engaging details. Olivier, smarting from the rejection of his then wife Vivien Leigh in the central role, bitterly complained to Hitchcock about Fontaine's casting and urged the portly director to get rid of her. Hitchcock remained steadfast to Fontaine, but not without psychologically manipulating the young actress into believing that the cast and crew disliked her.

The end result is that Fontaine's performance as the nervous young brIde eager to please is perfect, and justifiably won Fontaine an Oscar nomination, which she would win for her next Hitchcock film Suspicion.

Overall Wells gives the reader a compelling insight into the Hollywood studio system at work, and how a phenomenal best seller is translated and manipulated onto the screen during the golden age of movie making. Highly recommended.