Alfred Hitchcock Didn’t Like His Only Best Picture Winner

It’s been more than 40 years since the famed director, Alfred Hitchcock, passed away. Yet, the master of suspense continues to be one of the most beloved and admired filmmakers in history. His films continue to be classics, and were often box office hits for their studios, even if said studios had reservations about Hitchcock’s often shocking material. Despite the hits and praise, however, Hitchcock’s films were never Oscar darlings. In fact, the director only received one Best Picture award.

Released in March 1940, Rebecca was Hitchcock’s first American film. The director had been signed by legendary Hollywood producer David O. Selznick to a multi-picture deal, with Rebecca being the first up. Faithful to the source material, the film received rave reviews, a nice box office return, and, of course, a Best Picture Oscar. There was one problem, though: Hitchcock didn’t like the film. Plagued by the director and producer’s feud and power struggles, production on the film was as fiery as a mansion set aflame by a deranged housekeeper.

David O. Selznick and Alfred Hitchcock Clashed While Making ‘Rebecca’

Advertised as the producer’s successor to Gone With the Wind, David Selznick bought the rights to Daphne du Maurier‘s Rebecca in 1938, while still engaged with the production of Wind. The producer had been aware of Alfred Hitchcock’s work in Europe, and, according to an article from Variety, brought the director over to Hollywood in 1939. Hitchcock was put under contract with Selznick’s studio, with Rebecca set to be the first of their collaborations. Per Variety, the two men were different in almost every way. Called “a notorious control freak” in Variety‘s publication, Selznick was a producer that liked things done his way. Gone With the Wind famously went through three directors and several writers, with Selznick’s authority being the true creative control on the set. As Hitchcock was about to learn, Rebecca was no different.

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Daphne du Maurier’s Rebecca was a huge hit when it was published. What starts as a romantic love story between a young common woman (Joan Fontaine) and a rich widower named Maxim de Winter (Laurence Olivier) becomes a murder mystery that culminates in Maxim’s housekeeper (who obsessively mourns for his first wife, Rebecca) Mrs. Danvers burning down the dreamlike estate of Manderley. As with Gone With the Wind, Selznick wanted to stay true to the source material, a task that, according to Entertainment Weekly, baffled his collaborators. Hitchcock, however, had a different idea when it came to adapting du Maurier’s novel.

According to the documentaryThe Making of Rebecca, Hitchcock was more interested in adapting the idea of Rebecca. He was not above making the necessary cuts or changes to make it a “Hitchcock” film. Selznick disagreed. Per the documentary, Selznick wanted every scene from the novel on the screen. They disagreed on the script at almost every level. PBS said that one of their most significant disagreements revolved around the film’s conclusion. As Manderley smoldered, Selznick wanted the smoke to form a sweeping “R” in the sky, in reference to the “R” the deceased Rebecca signed on her letters. Hitchcock was displeased with the ending, and was “appalled.” Hitchcock thought the film should end with a pillow, embroidered with an “R” burning, signifying an end to Rebecca’s memory. Hitchcock’s vision won out for the final scene, but even in post-production, Hitchcock was angered by Selznick’s involvement. As he did with Gone With the Wind, Selznick wanted control over the film’s final cut. Still considered one of Selznick’s finest films, Rebecca would prove a hit for both men once it was released, especially on Oscar night.

Hitchcock Never Considered ‘Rebecca’ His Film

Rebecca was triumphantly received during its 1940 release. After earning rave reviews and nearly three times its budget at the box office, the film was nominated for 11 Oscars, including Best Picture. While it only won two, it took home the night’s top-prize. Despite this, Hitchcock did not win the Oscar for Best Director. Though the film is fondly remembered as one of his best, Hitchcock rarely spoke of it, and, years later, disowned the film, saying it was “not a Hitchcock picture.” He commented that the story itself was not his taste and was made in line with what Selznick wanted. Still, the film helped kick-start Hitchcock’s career in Hollywood. He would work again with Selznick on 1945’s Spellbound, before going on to the films for which he is best remembered. As his star continued to rise, he would adapt another of du Maurier’s stories, when he directed one of his most beloved films, The Birds. His second swing at du Maurier is far more removed from the basis material, adapting the nuance of the piece, similarly to his original intent with Rebecca.

Hitchcock and Selznick’s collaboration was far from smooth. Both had very different ideas about what the film should be and to whom the production truly belonged. The film did win the Best Picture Oscar, the only Hitchcock film to do so, but the director never felt as though it was his type of film. However, it did start his career in Hollywood, and ultimately allowed the master of suspense to begin his reign over the genre.

Rebecca is available to stream on Turner Classic Movies in the U.S.

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