Eu Te Matarei, Querida!

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 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.

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!

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

"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