Write descriptive essay about Rebecca movie 1940, write an essay of at least 500 words on Rebecca, 5 paragraph essay on Rebecca, definition essay, descriptive essay, dichotomy essay.
Drama, Thriller, Mystery, Romance
IMDB rating:
Alfred Hitchcock
Laurence Olivier as 'Maxim' de Winter
Joan Fontaine as The Second Mrs. de Winter
George Sanders as Jack Favell
Judith Anderson as Mrs. Danvers
Nigel Bruce as Major Giles Lacy
Reginald Denny as Frank Crawley
C. Aubrey Smith as Colonel Julyan
Gladys Cooper as Beatrice Lacy
Florence Bates as Mrs. Edythe Van Hopper
Melville Cooper as Coroner
Leo G. Carroll as Dr. Baker
Lumsden Hare as Tabbs
Forrester Harvey as Chalcroft
Philip Winter as Robert
Storyline: A shy ladies' companion, staying in Monte Carlo with her stuffy employer, meets the wealthy Maxim de Winter. She and Max fall in love, marry and return to Manderley, his large country estate in Cornwall. Max is still troubled by the death of his first wife, Rebecca, in a boating accident the year before. The second Mrs. de Winter clashes with the housekeeper, Mrs. Danvers, and discovers that Rebecca still has a strange hold on everyone at Manderley.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1080 px 7191 Mb h264 8091 Kbps ts Download
HQ DVD-rip 720x576 px 1633 Mb h264 1825 Kbps mkv Download
Do you think the dead come back and watch the living?
Rebecca is directed by Alfred Hitchcock and adapted to screen play from the Daphne du Maurier novel of the same name. It stars Laurence Olvier, Joan Fontaine and Judith Anderson. Cinematography is by George Barnes and music scored by Franz Waxman.

After meeting and marrying 'Maxim' de Winter (Olivier), the Second Mrs. de Winter (Fontaine), finds life at his English estate, Manderley, far from comfortable because the servants and the house serve to remind her of the first Mrs. de Winter, whose death remains a source of mystery. What did happen to the first lady of the house? Can this newly married couple survive the oppressive cloud that looms large over the mansion?

A Gothic emotional near masterpiece, Alfred Hitchcock's first American film may seem a bit too serviceable at times, something he was also aware of himself, but the production values are high and the story is played out supremely well. Within the story we can find Hitchcock's now famous trait of mistrusting Women, but in the main it stays the tragic tale of one young woman living in the ominous shadow of the previous Mrs. De Winter. Mood is often set as foreboding, with the director understanding the psychological pangs of the source material once the action switches to the de Winter home of Manderley. It arguably is a touch too long, and the restraint of Hitchcock, down to producer David O. Selznick overseeing things, stops it being a bit more unnerving than it should be.

For Manderley the mansion here is one of the finest put on the screen, this is because Hitchcock and brilliant cinematographer George Barnes manage to make it bold & beautiful one minute, and then the next scene it comes off as a monolithic nightmare. It's wonderful case of the surroundings playing the extra character for maximum effect. Laurence Olivier is impressive, even if we would learn later on that this is the sort of performance he could do in his sleep. The supporting cast do great work as well, especially as regards the cold and terrifying turn from Judith Anderson as Mrs. Danvers. However, to me this will always be Joan Fontaine's show, she nails it perfectly, the new Mrs. De Winter wants to do right but can't seem to so for doing wrong, she infuriates at times, yet the next minute you just want to hold her, for she's so vulnerable, but beautifully so, it's a brilliant performance in a brilliant film.

The ending is a switheroo from the novel, and it almost derails the success the film has achieved up to that point. And looking at it now it's hard not to curse the Production Code for enforcing a big change to what was revealed in du Maurier's wonderful novel. But the film has survived the "appeasing" ending to stand the test of time for all the ages. It won the Academy Award for Best Picture, and Barnes also won for Best Black & White Cinematography, it was nominated for a further nine awards, including Best Director, Best Actor, Best Actress and Best Supporting Actress. No nomination for Waxman, sadly, but his score is worthy of a mention for the evocative strains that sit nicely with the tone of the story. Rebecca, a hauntingly beautiful picture that's acted and produced with consummate skill. 9.5/10
Being an avid fan of Alfred Hitchcock's films, I should rank Rebecca high on my list. It was the only of Hitch's films to win an Academy Award, winning Best Picture in 1940. However, much like North by Northwest, another fan favorite, I don't care for Rebecca. Almost everything that makes a film Hitchcock-esque seems to be missing in Rebecca. The film is full of imposing camera angles and the wonderful lighting I adore in Hitchcock pictures, but his standard care with which his narrative is formed seemed completely different. Starring Laurence Olivier and Joan Fontaine, Rebecca tells the story of a recently married couple and the self-consciousness experienced by the new bride who cannot seem to escape the shadow of her new husband's deceased first wife.

'Maxim' de Winter (Laurence Olivier) a wealthy man living in a sprawling estate meets a quiet, timid young woman who he instantly falls in love with and decides to marry. The new Mrs. De Winter (Joan Fontaine) soon learns that there is a spirit hanging over her new home, that spirit belongs to the first wife of her new husband, Rebecca. Mrs. de Winter soon becomes fully aware just how much Rebecca's memory has engulfed her husband's thoughts. There are even rooms in her home that haven't been changed since Rebecca was there. Mrs. de Winter clashes with the staff in the home, as it seems everyone is longing for the first Mrs. de Winter.

Rebecca seems less like a Hitchcock film than the sole comedy he made Mr. & Mrs. Smith. The audience wasn't thrown into the suspense like in Strangers on a Train, the tone wasn't set like it was in Psycho, it was a diligent narrative that seemed more like a John Ford film than a Hitchcock picture. The cinematography was brilliant, and more than deserving of top prize that year for George Barnes. The film itself was fine, just not at all what I expected from Hitchcock's only Oscar winner.
One of the Great Hitchcock Classics
It is strange that after arriving in Hollywood from Britain, Alfred Hitchcock should have chosen to base his first film upon a novel by Daphne du Maurier, the same author, who had provided him with the material for the last film of his British period. "Jamaica Inn" was one of his few failures, a minor-league costume drama that is today of little interest except to Hitchcock completists. With "Rebecca", however, he achieved one of his greatest successes, even though the story is hardly typical of his work.

A number of Hitchcock's films, such as "The 39 Steps" or "North by North-West" end up with the hero and heroine falling in love, but are nevertheless essentially suspense films with an element of romance. "Rebecca", however, is essentially a romance with elements of suspense. Indeed, it starts out as a romantic comedy. A young woman (we never learn her name) staying on the French Riviera with her employer Mrs Van Hopper, meets and falls in love with Maxim de Winter, a handsome older widower. There is a brief comic sequence as the two lovers try to outwit the overbearing, bullying Mrs Van Hopper and escape back to England.

With the shift in location to England, the mood of the film becomes darker and more serious. We learn that Maxim is the wealthy owner of Manderley, a stately home near the Cornish coast, and that he was widowed about a year earlier when his first wife Rebecca drowned in a boating accident. The new Mrs de Winter finds it difficult to adapt to her new role as the mistress of such a large house, especially as she feels that everyone, including the servants and Maxim's friends, is comparing her unfavourably with the beautiful and accomplished Rebecca. Maxim reveals to her that his first marriage was an unhappy one as Rebecca was compulsively promiscuous and betrayed him with a number of lovers. This revelation does not, however, put her mind at rest, because evidence soon comes to light that suggests that Maxim may have killed Rebecca out of jealousy.

The "suspense" elements of the film only occur near the end, when Maxim has to struggle to clear himself from suspicion of murder. There are no typical Hitchcock set-pieces like the crop-duster in "North by North-West" or the shower scene in "Psycho". This is, however, one of the most atmospheric of Hitchcock's films. Although it was shot in California, the morning mists, the pine trees by the rocky coast and the Gothic mansion are all suggestive of England. (I suspect that if Hollywood were to make the film today they would try to Americanise it, but in the forties their attitude to British literature was generally more respectful).

In a way this is a ghost story, although not in the literal sense of a tale of supernatural happenings. Manderley may not be literally haunted, but it is permeated by Rebecca's spirit. The old house is solid and luxurious, but it also has an oppressive air, especially for Mrs de Winter. (Max Ophuls was to conjure up a similar atmosphere in "Caught", made a few years later). Rebecca does not actually appear in the film; she does not appear in the book either, but that is a first-person narrative told from the viewpoint of her successor. In the film, where the first-person perspective is largely abandoned, it would have been much easier to show her in flashback, but Hitchcock chose to resist this temptation. In my view he was right to do so. Rebecca is far more frightening as an unseen but malevolent and brooding presence than she would be if seen in the flesh.

Mrs de Winter is an outsider at Manderley, partly because she is from a less privileged social background than Maxim, partly because she is the only character who never knew Rebecca personally. Maxim was probably attracted to her precisely because she was so unlike Rebecca. As she is supposed to be somewhat plain and dowdy, Joan Fontaine, one of the most attractive actresses of the period, was perhaps not physically right for the role. (Joanna David, in the 1979 TV production, seemed closer to du Maurier's conception of the character). Nevertheless, Fontaine's interpretation of the role is a very good one, making her shy and bewildered but possessed of an inner strength which enables her love for Maxim to survive.

Laurence Olivier is also good as Maxim, bringing out the two sides of his character. On the one hand he is the calm, self-possessed English gentleman, on the other a man haunted by his past. The other performance which stands out is that of Judith Anderson as the sinister housekeeper Mrs Danvers. Always dressed in black, with a severe hairstyle, moving silently through the house, Mrs Danvers initially greets the new Mrs de Winter with an icy formality, but gradually becomes her chief tormentor. Although this could not be explicitly stated in the forties, there is a strong hint that Mrs Danvers is a lesbian and that she might have been in love with Rebecca. Certainly, the scene in which she stands lasciviously pawing her late employer's underwear is highly suggestive.

It certainly seemed eccentric of the Academy to give this film the "Best Picture" award while withholding "Best Director" from Hitchcock. 1940 was, however, a very strong year in the history of the cinema and, excellent film though "Rebecca" is, I am not sure that it is necessarily a greater one than John Ford's "The Grapes of Wrath", Chaplin's "The Great Dictator" or "The Philadelphia Story", all of which were nominated. I suspect that the decision to give "Best Picture" to "Rebecca" and "Best Director" to Ford may have been a deliberate attempt to spread the honours more evenly. Nevertheless, "Rebecca" remains one of the great Hitchcock classics. 8/10
Hitchcock's first Hollywood masterpiece
This classical Hitchcock's Gothic mystery irresistibly reminds of "Gone With the Wind" (same producer), and also of Jane air (screenplay is based on novel of the same name by Daphne Maurie and it's written on the model of Charlotte Bronte). This is the first Hitchcock American/Hollywood movie so it has typical British flavor, like all previous Hitchcock mysteries. It is nominated for 11 Oscars and has won 2, for the best movie and the best black and white cinematography. I wouldn't say it's one of the best movies of all time, but it surely is masterpiece.

A Fine Classic
This fine classic combines a great director, a great story, and a great cast. Any one of those would have made for a good movie, but all three make it an excellent one. Hitchcock's style and eye for detail combine very well with a story (from a novel that is extremely good in its own right) filled with psychological fear and settings that are interesting and suggestive.

Most of the time the story itself moves fairly slowly, allowing the focus to be on the characters, but there are also a couple of very good plot twists, which can be very surprising if you've not seen the movie or read the novel. So if you happen not to know the story, it's a good idea to see the film before reading a lot of comments about it. Laurence Olivier, Joan Fontaine, Judith Anderson, and George Sanders are all perfectly cast and do a wonderful job bringing their characters to life, and making you feel a part of the story.

"Rebecca" should be satisfying not only to any Hitchcock fan, but to anyone who likes classic movies. Whether you like romance, suspense, or drama, they're all here, and put together by a director and cast that are masters of their art.
"Rebecca" is often mentioned as one of Hitchcock's finest works. In my opinion, it's his most overappreciated film. I just don't understand what's so good about this overdramatic, fairly unhitchcockian yarn. It goes on and on and on revealing "the secrets of Manderley", and then ends quickly, almost furtively. Maybe the maestro himself didn't like the film neither, because his cameo is a really hard one to catch! Still, "Rebecca" is worth seeing at least for Judith Anderson's amazing performance as the evil Mrs. Danvers.

If you're a Hitchcock fan, take notice that Leo G. Carroll (Dr. Murchison in "Spellbound", senator Morton in "Strangers on a Train", the professor in "North by Northwest") makes his first appearance in a Hitchcock movie as Rebecca's doctor (near the end of the film).
Rebecca (1940)
This is an excellent film and it was directed by no other than the infamous Alfred Hitchcock.

This film starts out with some amazing music. The introduction starts out with suspenseful and then changes into classical romance music. The narration of a woman wishing to return to Mandeley. The film portrays a young woman who falls in love with a millionaire Maxim De Winters and marries him.

They leave for Maxim's home called Mandeley. During the 2nd wifes time at Mandeley, she is constantly reminded and compared to the first Mrs. De Winters-Rebecca. No one ever calls the 2nd wife by her first name, she is always referred to as dear, sweetheart or Mrs. Da Winters. Throughout her stay at Mandeley, the 2nd Mrs. De Winters grows extremely concerned for her relationship with Maxim. She also fears the housekeeper Ms. Danvers.

The lighting and sound for this movies was right on. I loved the scene at the cottage with Maxim and the 2nd Mrs De Winters. As always with a Hitchcock film there are twists in the plot. However I never thought it would end the way it did. I loved this film!
Alfred Hitchcock's overrated Best Picture Oscar winner "Rebecca" isn't the best of his career
In case you haven't noticed, I'm a huge fan of director Alfred Hitchcock and his films. So naturally, you'd think I'd like the 1940 mystery "Rebecca", the only film in his career to win the Academy Award for Best Picture, right? Wrong! In fact, I don't think the Academy Awards are a credible source to find the greatest films of all time since a couple of them don't even hold up well. I'll go even further by saying that after the two times I've seen this particular film, I've been very underwhelmed by what I saw.

"Rebecca" tells the story of a young woman (Joan Fontaine) who meets and falls in love with a wealthy widower (Laurence Olivier). These two get married within a few weeks and he takes her to his massive mansion with a great number of employees where they'll spend their honeymoon together. The housekeeper (Judith Anderson) doesn't seem to be very fond of the new bride. And as this couple spends more time there, she begins to become haunted by the memory and presence of his first wife. She becomes haunted to the point where her husband seems to be affected by the memory of his wife as well.

From what I just described, the plot wouldn't sound like a Best Picture Oscar winner, would it? Regardless, critics and audiences seem to declare this as a very good film. While I admit that this film is far from terrible and admit to being invested in the film's first couple minutes, it later became too silly and redundant for my taste. But what do I like about "Rebecca" that is worthy of mentioning? Well, the black and white cinematography is pretty sharp and it serves the underlying dark tones of the widower's castle-like mansion well. The performances by Laurence Olivier and Judith Anderson are very strong and their characters enrich the drama as they're supposed to. I found that Franz Waxman's musical score had the right tone for this type of dark story that was being told.

For me, "Rebecca" goes downhill when the newly married couple gets to the mansion since the film then operates on a mechanical, repetitive narrative rhythm and sticks to it seemingly for the rest of the film. The couple has a strange conflict, but then everything's okay again. The couple has a strange conflict, but then everything's okay again. The film practically repeats itself and the narrative as a result becomes less and less interesting. I didn't even really know what happened in the last half hour of the picture, that's how inconsistent the narrative became.

For that matter, the conflicts or parts of the picture where the couple suspects something unusual is happening in the mansion weren't that exciting. Maybe the reason why was because the story wasn't that thrilling in the first place due to the fact that I didn't know if it was supposed to be scary. I wasn't sure what to feel and how to feel about the events that take place. As a result, I kind of gave up caring and got bored by the film. I wouldn't go so far as to say that this is a bad Hitchcock picture. However, I would say that it's an overrated one due to its repetition and lack of any real thrills. Given the films that Alfred Hitchcock had made throughout his distinguished career, there were some films of his that were more deserving of the Best Picture Oscar than "Rebecca".
Gothic Atmosphere and Sophisticated Characters
Charles Ramirez Berg, when discussing various landmarks of Hitchcock's films, pointed out that therein "evil manifests itself not only in acts of violence but also in the form of psychological, institutionalized and systematic cruelty." And it seems that REBECCA, his Hollywood directorial debut, a production that the New York Times reviewer Frank S. Nugent calls "facile and penetrating" proves that assumption specifically convincing. Though, this is a film which barely resembles the director's hallmarks nor reveals the cream of the Master of Suspense (actually lacking the MacGuffin).

The screen adaptation of Daphne Du Marier's story "stands or falls on the ability of the book's 'I' to escape caricature" (Frank S. Nugent) but, simultaneously, "allows Hitchcock to mix styles and genres" (Berardinelli). His 'visual schemes' and 'thematic concerns' are present here, but the movie belongs to "somewhat uncharacteristic works" (R. Berg). It is, actually, REBECCA's Gothic atmosphere and sophisticated characters where its major strengths lie.

(Gothic atmosphere) James Berardinelli observes in his review of the movie that "it is perhaps the height of irony that the only film directed by the Master of Suspense to win a Best Picture Oscar is a Gothic melodrama." Just the height of paradox where Hitchock proves to be a versatile director. There is no need to outline the story because each viewer will be led to its mechanisms, its thrill soon after the opening credits are over. Indeed, one could observe that its backbone is partly the novel, partly the resemblance to Bronte's JANE EYRE and partly today's soap opera but the whole decoration that it is covered with brings even skeptical viewers to certain awe. From the start, we see that moonlight can play tricks upon all of us (images heavily influenced by Hitchock's early encounter with German Expressionism at Ufa Studios). That highlights the magnificent job of the cinematographer George Barnes with the haunting use of light and shadow, the atmospheric score by Franz Waxman, the screenplay by Robert Sherwood, Philip Mac Donald, Michael Hogan, Joan Harrison and special effects by Jack Cosgrove. Considering the camera, F.S. Nugent rightly states that "cameras murmur 'Beware' when a black spaniel raises his head and lowers it between his paws again." Among many emblematic scenes of the movie, consider the discovery of Manderlay mansion or the couple's dance in the first phase of the film which is a typical old Hollywood romance. In all these aspects, REBECCA, as one of the most praised productions of the early 1940s, can be considered Hitchock's process of pursuing his style still under the spell of Expressionism but revealing something from the depth of his fertile fantasy.

(Characters) Along with the very best performers of the time, F.S. Nugent observes something interesting in that respect. Mr Hitchcock, he says, "the famous soloist, suddenly recognized that, in this engagement, he is working with an all-star troupe." Yes, director's great rapport with the versatile cast results in outstanding performances and displays of great talents. Here, our attention is on Joan Fontaine. And to what extent the artistic side corresponds to the inner worlds of her character is mentioned by Berardinelli who states that "the director uses camera angles, editing, and music to emphasize the lead character's claustrophobia as it escalates to near hysteria." But before I outline certain points about Fontaine's performance, let me highlight another great achievement.

It is not merely the great Olivier as the male co-star to Fontaine (one of Hitch's favorite blondes), it is not Sanders in the supporting role of Jack Favell, the scheming member of the extended family. The greatest role belongs to JUDITH ANDERSON as Mrs. Danvers, "considered by many literary critics to be among the best 20th century villainesses" (Berardinelli). A haunting character with homo-erotic overtones delivers unique psychological power, displays a Gothic idea of evil disguised by cold manners and indifferent gestures where still waters indeed run deep. In one scene, she introduces Fontaine to the room in the west wing that once belonged to late Rebecca and, magically almost, blends the real world with the imaginary world, spirits and living people, memories with here and now. Adding the narcissistic aspect of inner lusts and her hand placed on Rebecca's clothes delivers bizarre psychedelic experience. She appears to be a shadow incarnate, an incendiary 'persona' of the whole story bringing everything to haunting conclusion.

(Fontaine, Olivier) The chemistry between Fontaine and Olivier appears to be striking. The actress who played in some other Hitchock's films being a co-star to Cary Grant in SUSPICION handles the role with sophisticated charm, certain psychological distance, some youthful enthusiasm. Yes, so far together with Larry. Alone, however, her role is hard, very hard as "a second Mrs. De Winter" a character placed totally in the shadow of her deceased predecessor, caged within the burden of haunting past ruled by 'the most beautiful creature people ever saw', she has no one to rely on once she enters the mansion and much must be expressed in her facial gestures. Slowly, she explores fears, even psychological angst no less than Bergman in Rossellini's masterpiece. From the inside out, she gives a silent performance to a significant extent. Berardinelli states that she "emphasizes her inferiority to Rebecca." Relying on that notion, we could ask ourselves: what about the superior character to her? All we know is that she was beautiful but incapable of love, some model of 'cold Aphrodite' developed even more intensely in a German film ALRAUNE. 'What was Rebecca really like?' remains a rhetorical question and something that is left to us just to imagine...Maxim De Winter is, to the contrary, a tormented character, a man of good will placed in the wrong place at a wrong time. Quite underrated at certain moments, this is, undeniably, one of Olivier's towering performances.

REBECCA is a gem, a highly recommended film which may enhance the Hitchock's reputation as a versatile director and a surprising work where atmosphere and characters still supply us with unique entertainment.
The master of pulling the rug under you
"You thought you could be Mrs. de Winter, live in her house, walk in her steps, take the things that were hers! But she's too strong for you. You can't fight her - no one ever got the better of her."

Without ever being physically present or having a line in the film, Rebecca's strange influence over everyone dominates the film in a way only Hitchcock could have pulled off. I still have a lot of Hitchcock films to catch up with, but so far I haven't seen one I disliked. Rebecca is a near masterpiece and Hitchcock once again proves his craft as a director by slowly building a psychological romantic thriller and then once we are hooked with the characters he pulls the rug under our feet and delivers some surprising twists we never expected. This may not be one of Hitchcock's most popular films, but it will always be regarded for being the only film of his that won him an Oscar. Rebecca isn't his best film (which in my opinion is Rear Window), but it deserves to be ranked amongst his best work thanks to a gripping screenplay, some wonderful performances, memorable characters, and above all its beautiful black and white cinematography. It is simply stunning and despite being made in 1940 it still manages to remain incredibly suspenseful and unique. Despite knowing that Hitchcock is going to come up with an interesting twist he completely catches me off guard every time and leaves me even more engaged with his work. My only complaint (a minor one) with his films is that despite being subtle throughout the story at the end he spells everything out for the audience trying to explain the twists (Psycho is the best example of this, but in Rebecca it's done again and it makes the film drag a bit near the end, but it's only a minor complaint considering we are talking about the Master of Suspense).

Rebecca is based on Daphne Du Maurier's celebrated novel (who also wrote The Birds which Hitchcock later went on to direct) and adapted by Robert E. Sherwood. The story centers on a shy unnamed woman (Joan Fontaine) who works as a paid companion to the wealthy Edythe Van Hooper (Florence Bates). While they are in Monte Carlo she meets a wealthy estate owner named Maxim de Winter (Laurence Olivier). Edythe mentions that Maxim's wife, Rebecca, passed away an year ago in a boating incident and he hasn't recovered from it. During their short stay in Monte Carlo however, Maxim falls in love with her and the two marry within weeks of having met. Maxim takes the new Mrs. de Winter to his beautiful country home known as Manderley and introduces her to the staff. Despite being in awe of the majestic home, she feels intimidated by the housekeeper, Mrs. Danvers (Judith Anderson), who remains obsessed with Rebecca. As the days pass, Mrs. de Winter begins to feel overwhelmed by everyone's affection towards Rebecca and somehow she feels that Maxim is still very much in love with her. Rebecca's shadow seems to interfere with everything she does and she begins to feel her relationship is doomed.

Rebecca is not simply a psychological thriller centering on relationships, it is a film focusing on identity. Despite never being seen, Rebecca's presence dominates this film and she seems to have a strange effect over everyone. In contrast, the second Mrs. de Winter only gets her name once she marries Maxim and she never really has an identity of her own. She is continually threatened by Rebecca's presence no matter what she does and despite wanting to overcome it she can't because everyone seems to have adored her. Hitchcock builds the tension and suspense very subtly with memorable characters. Despite being extremely beautiful Joan Fontaine pulls off an incredibly natural and believable performance as this shy and insecure pet-girl. Laurence Oliver also plays his role as the loving but distant character very well. However the two most memorable performances for me came from the supporting cast. Judith Anderson and George Sanders play the villains to perfection. Sanders delivers some comedic relief, while Anderson's mysterious and cold face uneases us from the moment she appears on screen. The Gothic mood underlying the film mixes perfectly with the haunting ghost story as Rebecca's presence can be felt everywhere once we step into Manderley. Hitchcock has done it again.
Write descriptive essay about Rebecca movie 1940, Rebecca movie essay, literary essay Rebecca, Rebecca essay writing, narrative essay, Rebecca 500 word essay, argumentative essay Rebecca.