22 October 2020 10:35
In Rebecca, the glamour and horror of the red dress converge. As the narrative progresses, the second Mrs. de Winter finds herself at first unwittingly emulating her predecessor, before supplanting her. This gothic doubling is partly spelled out in the colors she wears. As the film reaches its uneasy, rather too hasty conclusion, a revision in our understanding of the red dress is required, too. This is no straightforward account of innocence versus experience.
Instead, it is a story in which no-one escapes clean-handed. We realize, too, that the dead Rebecca, as with plenty of those other famous women dressed in red gowns, was a consummate performer. Like a good many femme fatales, she blurred the boundaries between acting out her own desires and becoming a cipher for others to project their hopes, their fears, their furies, and their jealousies onto. And like a good many of them, she suffered for it.