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This film, based on the Daphne du Maurier's novel is practically unknown, as it appears to have been forgotten; it never turns on reruns, but it's worth a look nevertheless.

"My Cousin Rachel" was directed by Henry Koster, based on the adaptation by Nunnally Johnson, who did a good job in creating the right atmosphere for the film. The great cinematography of Joseph LaShelle enhances what the director set out to do in more ways than he probably imagined. Mr. LaShelle was one of the most elegant cinematographers of that era. Just look at his seascapes to appreciate his art.

This film marks the beginning of Richard Burton's career in the American Cinema. While it was not his first film, the actor brought such an intensity to his role that earned an acting nomination for best supporting actor. He should have been nominated as the best actor, since his role is the whole movie!

Olivia DeHavilland makes an excellent Rachel, at times loving, at others sly and calculating. She had a special beauty. Her eyes express a lot in her close ups. Ms. DeHavilland was totally convincing in her take of this woman who comes back to claim her inheritance when everything is taken away from her.

The rest of the cast is good as they play in ensemble fashion. Audrey Dalton makes a lovely Louise, the loyal friend. Also John Sutton, who unfortunately doesn't stay around too long to make justice of his role of Ambrose.

As a Gothic mystery, this film will not disappoint.

"My Cousin Rachel", like Hitchcock's "Rebecca" from twelve years earlier, is based on a novel by Daphne du Maurier. Both films are Gothic melodramas set in Cornwall, and both have a wealthy landowner as the main male character. Another link is that the female lead is played in "Rebecca" by Joan Fontaine and here by her sister Olivia de Havilland. One difference between the two, however, is that "Rebecca" has a contemporary setting, whereas "My Cousin Rachel" is a period piece set in the early nineteenth century.

This is not, however, the sort of "heritage cinema" costume drama with which we are familiar today. Ever since the sixties, it has been customary for films set in the 1800s to be made in colour, often sumptuous colour, with an emphasis on a detailed recreation of the costumes and furnishings of the era. In the fifties, however, it was quite common for such films to be treated as a sort of period version of film noir, in black and white with dramatic, expressionist photography. "Blanche Fury" is a British example of this phenomenon, and "Carrie" another American one.

The film has a particularly dramatic opening scene. Ambrose Ashley, a Cornish gentleman, is out walking along the coast with his young cousin Philip, an orphan whom Ambrose has adopted as his son. As they walk they see a body swinging on a gibbet and Ambrose turns to Philip and says: "Always remember, Philip, death is the price for murder."

Fast forward about twenty years. Ambrose, who has been advised to move to warmer climes for the sake of his health, goes to live in Florence where he marries the Countess Rachel Sangalletti, the English-born widow of an Italian aristocrat. Shortly afterwards, Ambrose dies in mysterious circumstances, leaving his estate to Philip rather than his new wife. Philip is convinced, on the basis of a few mysterious letters from his cousin, that Ambrose was in fact murdered by Rachel, but when she travels to England and he meets her, he falls desperately in love with the beautiful older woman. (Philip is 25, Rachel probably in her mid- thirties). As their relationship progresses, however, Philip's suspicions about Rachel return, and he begins to suspect that she might be planning to murder him to secure ownership of the estate.

The film's main problem is that it is never made clear whether or not Rachel murdered Ambrose or whether she is plotting to kill Philip. We spend about half the film thinking that she is the victim of unjustified suspicion and the other half believing that she may well be guilty of the crimes of which she is suspected. I don't intend to examine all the conflicting evidence with which we are presented, as fedor8 has already done this in his helpful review which sets out both the case for Rachel's innocence and the case for her guilt. The truth is never really established, and the film's ambiguous ending does not assist in this regard. In some artistic contexts ambiguity can be beneficial, but I feel that a Gothic suspense drama like this one needs to draw a clearer line between virtue and villainy.

The film does, however, also have its strong points. As mentioned above, its stark photography is very effective, and it was nominated for an Academy Award for Best Cinematography. There are also two excellent acting performances from De Havilland as Rachel and a young Richard Burton as Philip. I would not agree with those who see Philip as a Heathcliff figure- Emily Bronte's hero was always something of a threatening outsider, whereas Philip the wealthy country gentleman is really an insider, part of the system. Perhaps a more accurate comparison would be with a younger version of Mr Rochester from "Jane Eyre"- proud, impulsive, wilful, capable of both great generosity and great folly. Burton, one of several possible contenders for "greatest actor never to win an Oscar", deservedly received the first of his seven nominations for this film. (His second nomination came the following year for "The Robe", a film directed by the same director, Henry Koster). Oddly, his nomination here was in the "Best Supporting Actor" category, even though his is very much a leading role.

One might have thought that the ambiguity surrounding Rachel would have given De Havilland a problem as to how the character should be played. She is able, however, to give a very nuanced performance, suggesting both Rachel's lovability and her possibly sinister side. Another good contribution comes from the lovely young Audrey Dalton, in her debut film, as Louise, the young girl who loves Philip but fears losing him to Rachel. Audrey was a highly promising young actress who never really went on to become a major star, although she was to give another memorable performance in "Titanic" the following year.

Some have speculated that the film might have been improved had it been directed by Hitchcock rather than Koster, but the Master was never really comfortable with period drama. His attempt to film Du Maurier's "Jamaica Inn" resulted in one of his least memorable movies. He might have brought a greater sense of suspense to certain scenes, but I suspect that even he would have had difficulty in overcoming the problem of the ambivalence surrounding Rachel's guilt or innocence. 6/10

Richard Burton falls for his uncle's widow in "My Cousin Rachel," a beautifully produced 1952 movie starring Olivia de Havilland in the title role. Burton is Philip Ashley, whose beloved uncle Ambrose moves to Italy for his health, marries a widow, and dies of a brain tumor...or did he? Philip is very suspicious of his uncle's wife and the doctor she brought in to care for her husband, Rainaldi. de Havilland plays the widow Ashley who comes to visit Philip and quickly makes him regret his doubts, as he falls madly in love with her.

This is a highly atmospheric, well acted film with a very intriguing story that keeps the viewer guessing as to the true character of Mrs. Ashley. Is she a greedy, conniving seductress/killer, or a warm, loving woman? Several movie stars have demonstrated the ability of doing period pieces realistically, and Richard Burton was definitely one of them. Handsome, romantic, and boyish in appearance, with a wonderful voice and fine acting ability, he brings Philip to life with a passionate performance. Olivia de Havilland is magnificent as Rachel - hers is a subdued, gentle performance that gives nothing away as to Rachel's true character or motivations. The attraction between the two is entirely believable.

The final moments of the film are its best. Highly recommended.

Like its predecessor, "Rebecca", this Daphne duMaurier story made it to the screen relatively untinkered with. The screenplay is quite faithful to the novel, and although Richard Burton seems to be chewing the scenery rather fiercely at times, it was after all an early performance of his. deHavilland displays a serene face that may (or may not!) have something dreadful to hide, much as her character in "Hush, Hush Sweet Charlotte". Try it, you'll like it!

Philip Ashley (Richard Burton) is a brash young man in this Gothic tale. When Cousin Ambrose writes to him that his wife is slowly killing him, he accepts it without question...even though it's very possible Ambrose was not in his right mind. After all, his father died of a brain tumor...perhaps this is causing Ambrose to compose these weird letters. Regardless, Philip is pre-disposed to hate Ambrose's wife, Rachel (Olivia de Havilland). Philip rushes to Italy to see his cousin but the man was dead and buried by the time he arrived. His widow was not there and Philip immediately leaves to return to his estate.

Out of the blue, Rachel arrives at Philip's estate soon after this. Inexplicably, he almost immediately likes her and just assumes the letters were the ramblings of a madman. While this could be true, Philip's change of heart betray him as a very immature sort of young man. And, when he falls for Rachel and wishes to marry her, you wonder....is this a marriage made in Heaven or a prelude to his soon descent into Hell? Regardless, it soon becomes apparent that Philip has some serious issues!

When Ben Mankiewiecz introduced this film, he indicated that many thought Richard Burton was miscast as Philip because he was too old...though he was only 26. He just happened to look older and the part called for a young many about to turn 25. Burton's performance earned him an Oscar nomination--oddly, for Best Supporting Actor even though he was in every scene and clearly was the star. His performance is full of power and intensity...perhaps too much at times for my taste.

This movie is in many ways very reminiscent of the earlier film "Suspicion" which, interestingly, starred de Havilland's sister (Joan Fontaine). It keeps you guessing as to Rachel and her innocence...as well as Philip's sanity. Well made and interesting.

As others have pointed out over the years, Richard Burton does indeed seem too mature and experienced for his character's naïve infatuation with his cousin Rachel, played by Olivia de Havilland. But his performance, his first starring role in an American film, still is accomplished and has the power and gradual evolution to make the film mildly effective, despite a few other shortcomings. Like Hitchcock's Rebecca, the other 'Cornwall estate mystery' adapted from a Daphne de Maurier novel, My Cousin Rachel doesn't quite flow. It's almost as if the many psychological aspects of the story and the characters were too complex for the filmmakers to convey, and so they simplified and rushed many of them. This gives the picture an academic, somewhat distanced feel, and only occasionally does the mystery and the love story really come alive with full force. Another problem is that Olivia de Havilland, for all her beauty and technical skill, lacks the sexual magnetism and seductiveness which would help explain why a young, inexperienced man would become so mesmerized by her. There's a miscalculation in the casting here, and director Henry Koster is never quite able to disguise and make up for it. Peculiarly, Burton was nominated for an Academy Award in the 'Best Supporting Actor' category despite being in virtually every scene in the movie. Remade in 2017 with Rachel Weisz as the title character.

This masterful, complex mystery story between a younger man and older woman deals with the very modern issues of trust in relationships, and how well you can know someone. This film was made long before I was born, but for any DuMaurier fan, it is a gift. It is no wonder that Daphne DuMaurier's books were so often made as films, with her combination of romance, mystery and mistrust that marked all of her work... it remains potent.

It is a shame that this Oscar nominated film has become all but lost. While this is a dark story, shot appropriately in noir/Gothic shadows, most video versions available (and bootleg DVDS) seem to be from time-darkened versions. How I long for this to be digitally remastered and made available in a really good DVD.

Obviously this film was recognized at the time it was made. Time has unfortunately underrated it, as I believe DeHavilland has also become underrated. The qualities that are valued in today's leading GIRL roles, flashy, young, trash talking, have no value for the pleasant, understated nuanced womanliness DeHavilland brought to this role. Her performance here is an acting lesson for film, especially as this role required the difficult job of balancing the audiences doubts about whether she is good or bad.

Burton's acting is a lesson too, in film intensity. He is much better here than in many of his later performances where he seems to have studied his pout a bit too much. This, and his role as George in "Who's Afraid of Virginia Woolf" are among his best work.

This is a must-see for anyone interested in acting, and complex, nuanced film story telling.

If Gothic romance is your thing, you won't find a more absorbing and intriguing tale than this adaptation of Daphne DuMaurier's best-selling novel, MY COUSIN RACHEL. Not only is the atmosphere completely realized, but the elegant performances make the story even more compelling to watch as it unfolds a tale of possible murder and cunning deceit. The film was nominated for four Academy Awards for best costumes, B&W cinematography, art decoration and Burton's supporting role performance (which is actually a leading role).

RICHARD BURTON cuts a fine figure as the romantic hero of the piece--brooding, intense and passionate, reminding one of Heathcliff in the Bronte novel, "Wuthering Heights." He's an angry and impressionable youth who intends to accuse his cousin of murder based on his suspicious nature, but instead falls wildly in love with her the instant they meet.

OLIVIA DE HAVILLAND matches Burton scene by scene, her charming manners and poise as a woman of the world understandably provoking his interest. At first, he assumes she wants to claim her inheritance when she visits Cornwall. But soon he is able to see her in a different light and when he falls in love with her, he decides to leave his entire inheritance to her on his 25th birthday. It is then that the story becomes even more compelling when the ambiguous nature of Rachel comes at long last to the surface.

Franz Waxman has written a very dramatic and powerful background score that adds dimension to the Gothic tale that begins when a boy and his guardian walk across the moors and come to a gibbet where a man is hanging. "Always remember, Philip, death is the price for murder." And that's how the film's brief prologue begins.

It's richly scored, well directed by Henry Koster and features two outstanding performances from Olivia de Havilland and Richard Burton. Equally fine are John Sutton as Rachel's ill-fated husband, Audrey Dalton, Ronald Squire and George Dolenz.

Despite the ambiguous ending, it's an absorbing tale that is satisfying in its execution

Richard Burton and Olivia de Havilland scheme, doubt, and swoon in this Gothic thriller based on a Daphne du Maurier novel. It's a handsome looking production and adequately captures its 19th century setting. But despite the good actors, the whole thing never works up much steam, and what should be a juicy costume drama in the same vein as "The Little Foxes" instead remains fairly tepid.

I think the problem is with the casting. Olivia de Havilland is a wonderful actress, but she doesn't have the kind of sex appeal that would make a horny twenty-something go bonkers over her. Without that, Burton's obsession with her doesn't make a whole lot of sense. Burton is good, and if his performance is a bit intensely one note, I attribute that more to the character than any flaw in his performance. He was absurdly nominated for a Best Supporting Actor Oscar for this film, one of the most flagrant examples of category fraud in Oscar history. He is literally in nearly every scene.

"My Cousin Rachel"s attention to period production values paid off, as it was also nominated in the black and white categories for Art Direction, Cinematography, and Costume Design, though it went home empty handed.

Grade: B

Director Henry Koster was a mainstream director and it baffles me why he was picked to take the helm of this production. MY COUSIN RACHEL, the eponymous novel penned by Daphne du Maurier, who also wrote REBECCA, which also had a mansion (Manderley) at the center of all interests and action, seems much too serious material for a director who tended to indulge comedies like the remake of MY MAN GODFREY, THE STORY OF RUTH, or the elephantine and infantile HARVEY.

Cinematography rates very good, including some splendid breaking waves off the English coast, and some equally impressive night shooting, plus an atmosphere surrounding the house reminiscent of the film REBECCA, directed by Hitchcock 12 years earlier.

The leads are good but misused. Olivia de Havilland, one of the greatest actresses ever, only appears about 20 minutes into the film, and then only after being filmed from the back, possibly to create suspense and let her widow's clothing suggest something dark and evil about her character. After that enigmatic start, the viewer is just given a fence to sit on: is Rachel good or bad? Did she kill her husband? Is she trying to poison besotted cousin Phillip?

The part of Phillip is played by Burton, who picked up an Oscar nomination for it, deservedly so, too. Yet, he too baffles me with his initial dislike of cousin Rachel, and then his head over heels love for her, to the point of giving away all his property to Rachel. I must admit that I found his character annoyingly stupid for the most part.

Other big minuses about this film include Guido - is he bad or just Italian and therefore viewed with suspicion by locals? What are those poisonous seeds for? Why poison Phillip if he is giving everything up for her? Does she have a lover? What actual proof is Phillip seeking in Rachel's quarters? Why does she not just boot him out after getting all his property on a platter?

And how and why does she die like that? Suicide? Sudden burst of guilt? What a copout!

A word of praise for the supporting players, Audrey Dalton and Ronald Squire, who make the best of small and not particularly necessary parts.

6/10.

Daphne du Maurier novels seem to always make good film adaptations as Alfred Hitchcock found out to great effect with Rebecca (1940). Again this story is set in the English hotbed of Cornwall and introduces worldwide audiences to Richard Burton as an acting force.

Just like Rebecca this story is sort of a Gothic romantic drama set in a Cornish aristocratic household that allows Burton to shine as a spoilt brat character who has suspicions about an Italian lady (his cousin Rachel) but eventually falls in love with her.

Unlike Rebecca perhaps this film has been forgotten but I found it just as interesting a story and worthy of any delve into the Richard Burton filmography.

There are some good scenes as Burton confronts Rachel over the suspicious death of his beloved Uncle Ambrose who is his legal guardian since he was an orphan child.

Thanks to an excellent cast, lavish production and a screenplay that remains remarkably faithful to the novel, Daphne du Maurier's romantic suspense novel _My Cousin Rachel_ becomes a very effective film. Ever-elegant Olivia de Havilland displays just enough cool reserve and mystery as the ambiguous title character, while the young Richard Burton is appropriately brooding as he falls under her spell even though he half believes her to be a murderess. Fans of gothic romance will enjoy the period setting and the Cornwall location as well as the suspenseful, surprising plot, which resolves in an ending you will want to talk about with everyone you know.

Entertaining old-fashioned melodrama with Olivia De Havilland as the mysterious Rachel of the title who in quick time bewitches two male members of the same wealthy family to the endangerment of both their healths. Indeed when she makes her eventual entry some 22 minutes into the film, her first husband has already succumbed in somewhat strange circumstances, especially after sending from their home in Florence premonitory alarming messages of his impending demise at his wife's hand to his adoring young nephew, Richard Burton. So Burton's headstrong young Master Philip promptly races abroad to save the day but arrives too late as he learns that Uncle Ambrose expired a matter of weeks before. Also, when he tries to seek out the new widow with the letters and confront her with his accusations he finds she's already left.

Back home, Philip, who is soon to come to his legal maturity age of 25, is surprised to learn that when he does, he and not the man's widow is to be the sole heir to his uncle's very considerable estate. Then, to his even further surprise, the elusive Rachel turns up large as life at his door back in Blighty, where you think he'd happy to have the opportunity to grill her on his uncle's death, only for him to immediately fall for her good looks, maturer years and general air of sophistication. Naturally everyone from the butler upwards warns him against her but it's not long before his infatuation leads him to gift her everything in the estate, house and family jewels included. But just at the moment of his believed triumph, when he duly turns 25 and gets to bed the lovely Rachel at midnight on his birthday, certainly a better gift than a set of cuff links, it all changes as she renounces their thus consummated engagement the very next morning. Then he starts feeling ill, with symptoms which sound alarmingly similar to those suffered by his late uncle. And just what are the intentions of the lady's handsome and too dutiful Italian solicitor who shows up in town...

With many a shot of the young, handsome and virile Burton running about, jutting his jaw in acknowledged Heathcliffe style, it seems a little unlikely to me that he should fall so hard for the rather matronly charms of the older De Havilland, especially when there's a pretty young girl his own age chasing after him. I found the reveal at the end dissatisfying too, especially after sniffing more red herrings on the way than you'd find in a fish shop which led me to an altogether different conclusion.

Still, Burton in his first Hollywood film role already displays his star quality while in support Nick Kendall impressed most as the increasingly suspicious family solicitor. Director Henry Koster works well with the Gothic backdrop to all the action and Franz Waxman provides a suitably lush and dramatic musical accompaniment.

Frustrating to me though the ending may have been and I've no idea how it compares with that of the Daphne Du Maurier source novel, this was still strong vintage entertainment, perfect I'd have thought for a rainy Saturday matinee.

On the Cornish coast, the wealthy Ambrose Ashley (John Sutton) raises his cousin Philip like a son since he was a baby. They frequently have lunch or go to the church with Philip's godfather Nicholas Kendall (Ronald Squire) and his daughter Louise Kendall (Audrey Dalton). When Philip (Richard Burton) is twenty-four years old, Ambrose is advised by his doctor to spend winter in warmer places and he decides to go to Florence, Italy. Ambrose does not return in spring and tells that he met the widow Rachel Ashley (Olivia deHavilland) and they will get married. The next letter he receives from Ambrose accuses Rachel of mistreating him and the next one asks to Philip to go to Florence. When Philip arrives in Florence, he learns that Rachel has traveled and he visits Rachel's friend and lawyer Guido Rainaldi (George Dolenz). He tells to Philip that Ambrose died delusional because of a brain tumor, but Philip believes Rachel murdered his cousin. He returns to Cornwall and soon Rachel comes to the town and Philip invites her to stay in his property. When he meets her, Philip realizes that she is a beautiful woman and he falls in love with her. Then he believes that his suspicious are unfounded. He also decides to give all the wealth to her expecting to get married with Rachel. But she does not accept to get married and Philip soon gets sick. Is Rachel poisoning Philip or not? Is she guilty or not?

"My Cousin Rachel" is an intriguing film where unfortunately there is no answer to the main question: is Rachel guilty or innocent? The direction, screenplay, cinematography and performances are top-notch. Inclusive Burt Lancaster was nominated to the Oscar in the category Best Actor in a Supporting Role and won the Golden Globes Most Promising Newcomer – Male. Olivia deHavilland is also amazing performing an ambiguous character. My vote is seven.

Title (Brazil): "Eu Te Matarei, Querida!" ("I Will Kill You, Darling!)

If you like mysterious classics, like Jane Eyre, Laura, and Rebecca, this one will be right up your alley. It's dark and spooky, well-acted, tension-filled, and it has Richard Burton in it! Richard's cousin has married Olivia de Havilland (Rachel) and in the 1800s, cousins through marriage become cousins as well, hence the title. He receives letters from his cousin and starts to suspect that Olivia is poisoning him, but before he can travel to their home to rescue him (remember, this is the 1800s; he couldn't just take a plane) his cousin has died. Oh no! Richard is determined to prove Olivia's guilt, so he stays on at the house to try and uncover clues. But the longer he stays there, the more he finds himself drawn to his mysterious widowed cousin. . . I don't want to say any more about the plot, but if your interest has been piqued, rent My Cousin Rachel during the next dark and stormy weekend. It's thrilling!

Daphne DuMaurier returns to her beloved Cornwall coast to write My Cousin Rachel where she set many of her stories like Rebecca and Frenchman's Creek. Although this film has the breakout performance of Richard Burton in it, I would have to say that it's not as good as Rebecca.

Burton's Philip Ashley and Maxim DeWinter of Rebecca are a pair of similar brooding characters each mourning the loss of someone close. In Burton's case it's his cousin John Sutton who took him in as an orphan and raised him like a son. Sutton with whom the foggy and damp climate of Cornwall doesn't agree has moved to Italy and leaves young Burton in charge of the Cornwall estate. Sutton also marries an Italian-English woman in Italy and he dies there.

His will left everything to Burton, but as the widow she might have a case to contest. She's got herself an Italian lawyer in the person of George Dolenz who might just be more than her attorney.

The title role of that new cousin by marriage is played by Olivia DeHavilland, her first screen appearance since winning her second Oscar for The Heiress. As My Cousin Rachel is set roughly the same time as The Heiress it's like Olivia stepped from film set right to the other despite the three year gap. Her performance also is like what Catherine Sloper evolved into in The Heiress, mannered, controlled, manipulating and shrewd.

But one of the four bits of recognition the Academy gave My Cousin Rachel was a first Oscar nomination for Richard Burton. Inexplicably Burton is put in the Supporting Actor category and he's got more screen time than DeHavilland. As for Burton imagine Maxim DeWinter from Rebecca as a young man, Burton is 25 in this part and you've got his character. He's brooding and passionate and madlessly in love with his new cousin by marriage, but also incredibly suspicious that maybe DeHavilland might have helped Sutton along to his demise and that Dolenz helped her.

You can't spoil this story because DuMaurier and the film leave it quite up in the air as to whether DeHavilland was a murderer or not. My Cousin Rachel also got Oscar nominations for Costume Design, Black and White Art&Set Direction and Black and White Cinematography. That estate is beautifully photographed, the set will remind of Manderley in Rebecca.

My Cousin Rachel is not as good as Rebecca, but certainly has its place in cinema history as the big break performance for Richard Burton.