英国体操队

男队组成 、

　　路易斯-史密斯（Louis Smith）

　　丹-普维斯（Dan Purvis）

　　克里斯蒂安-托马斯（Kristian Thomas）

　　马克思-维特洛克（Max Whitlock）

　　山姆-欧德曼（Sam Oldham）

女队组成 、

　　贝斯-特为多（Beth Tweddle）

　　汉娜-维兰（Hannah Whelan）

　　里贝卡-唐尼（Rebecca Tunney）

　　詹妮弗-普因切斯（Jennifer Pinches）

　　伊莫根-卡因斯（Imogen Cairns）

　　复述（summary）如下：

　　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 Manderlay, 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 Manderlay

　　还有一个：

　　Maxim de Winter, still troubled by the death of his first wife Rebecca, falls in love with a shy ladies' companion They get married, but the second Mrs de Winter discovers that Rebecca still has a strong hold on everyone in the house, particularly on Mrs Denvers, the housekeeper, who begins driving the young wife to madness

　　评论(comments)如下：1a brief one比较简洁的^_^

　　A stylishly directed and photographed film that examines a number of themes, such a deception, death and depression, and explores well the emotions of its characters It is rare to find a film like this, as it tackles various genres, ranging from being a romance to a mystery to a drama to even a comedy at times, and all without seeming pretentious The cast is truly magnificent Judith Anderson is a stunner is a quiet but sinister role, and George Sanders is even more impressive in lively but also sinister performance Laurence Olivier and Joan Fontaine are perfect for their roles too The film won Academy Awards for Best Picture and Best Cinematography quite deservingly – this is one of the best films Hollywood has ever produced

　　2一个比较详细的^_^

　　《 What Atmospheric Gothic-horror Should Be》

　　Alfred Hitchcock was and is still the undisputed Master of Suspense, and there is a lot of that here in his foray into Gothic horror, as the mystery surrounding the unseen yet omnipresent Rebecca will engage the viewer from its dreamy start to its bleak conclusion This is exactly what atmospheric is supposed to be about, and in black and white, it shines This is also what Gothic horror is in essence, and many have imitated yet come up short, most notably M Night Shyamalan who, in trying to go for a shock twist and purported "atmosphere" only creates a bad aftertaste and a hangover the size of Mount Everest This is, essentially, Hitchcock's first true masterpiece

　　Not one performance rings false, not to the novel or to their respective interpretations Lawrence Olivier, quite possibly one of the greatest actors that ever lived, portrays a broken man who still lives haunted by the past as he himself were still living in that unending hell Judith Anderson embodies one of the most coldly sadistic figures in cinema history, her smooth and elegant truculence only exceeded by Anthony Hopkins' rendition of Dr Hannibal Lecter One can't seem to understand the way she wallows in her dead mistresses' clearly perverse nature, but that exactly she does, right down to her own end George Sanders does what he does best: sneer, smirk, and spit line after line of practiced venom, and would be honored 10 years later in ALL ABOUT EVE Gladys Cooper, still striking in her 50s, plays into her casual cattiness which means no harm, although her rendition of Beatrice Lacy is a little subdued from the novel's version

　　And then there is Joan Fontaine Not one of the best actresses on film, yet here, playing a role that evolves beautifully from a frightened, weak girl who is put into a situation she does not understand and who turns right at the point of losing it into a much more mature, strong woman capable of holding her own, she carries the weight of the entire drama and comes forth with flying colors While I would have preferred Anne Baxter who would have been the exact right age for this role, Fontaine exudes so much restraint and nervousness about her character (partially to blame Olivier's treatment of her and Hitchcock's telling her the entire cast hated her), it's almost a relief when she finally decides to confront Olivier about what it the secret of Manderley Not many roles require such a change and not many actresses would sink her teeth into a part that requires being put-upon until she can't stand no more, and this is one beautiful performance

　　A movie that should have won more Oscars that year, REBECCA has since grown in stature and proved that a film need not trophies to be Timeless and Great

　　再补充几个^_^comments

　　《the first Hitchcock masterpiece》

　　"Rebecca" was the first Hitchcock film I ever saw, and I was mesmerized by it from the start, convinced that I had to see more of the director's work It richly deserved the Oscar it received, but it's a real puzzle that the Academy saw fit to withhold a best director award for Hitch Would one possibly give an award to a work by Picasso and not to Picasso himself

　　"Rebecca" was the first of the director's American-made films, and it shows It's quite different from his earlier British-made films, such as "Young and Innocent" and even "The Lady Vanishes," which somehow seem more amateurish by comparison (I know little of the British cinema of that era, but it's difficult not to conclude that Hollywood was better at producing more sophisticated efforts) I would even judge "Rebecca" the best of his films of the early 1940s, with the possible exception of "Shadow of a Doubt" It is true, of course, that much of this film has become cliché (remember the spoofs on the old "Carol Burnette Show"!), but it still weathers the decades very well The acting is uniformly excellent Olivier is the hardened Maxim de Winter, untitled lord of Manderly, trying to forget the past and given to unexpected bouts of anger and coldheartedness Fontaine is perfect as the unnamed mousy heroine, innocent yet deeply in love, still carrying with her the aura of an awkward schoolgirl Even character actor Nigel Bruce, best known for his role in the Sherlock Holmes films, makes an appearance and plays, in effect, Nigel Bruce!

　　But it is Judith Anderson's role as Mrs Danvers that viewers are likely to remember best Her presence is as dark and foreboding as that of the deceased Rebecca herself, and Fontaine is evidently cowed by her icy stare and unnervingly formal manner The dynamics between the two actresses are wonderful Who could fail to empathize with Fontaine's unenviable position as, in effect, the new employer of such an intimidating personage On the other hand, Olivier seems quite unfearful of Anderson, despite her representing so much of the past he is trying to block out This part of the plot (even in the book) never made much sense to me and is unconvincing

　　As far as I know, this film marked Hitch's first collaboration with composer Franz Waxman, whose haunting score makes it all the more memorable Waxman's scores are perhaps less obviously cinematic than those of the incomparable Bernard Herrmann, who would score Hitch's films from 1955 to 1966 Contrast the score for "Rebecca" to Herrmann's music for "Citizen Kane" the following year, and you'll immediately hear the difference Waxman's is more symphonic in the central European style reflective of his own birth and upbringing Yet it is worth recalling that scoring films was still a new art at this time, and both Waxman and Herrmann were pioneers

　　Finally, one has to mention the cinematography, which is magnificent Technically "Rebecca" might have been filmed in colour, which was newly available in 1940 ("Gone with the Wind" was filmed entirely in colour the previous year, while "The Wizzard of Oz" and "The Women" had colour scenes) But colour would have diminished its impact The suspense and the ominous sense of impending doom could only have been communicated through the medium of black-and-white and the deft use of light and shade which it affords

　　In one respect, of course, "Rebecca" is not a typical Hitchcock film There is no fleeing innocent trying to clear his name of a crime he did not commit Surprisingly, there isn't even a murder, although its absence was apparently imposed by the Hayes Code and is certainly foreign to Daphne du Maurier's original novel Some have said that there is more Selznick than Hitchcock in this film, and perhaps there's something to that Still, if the collaborative effort between the two was not exactly amiable, it was nevertheless successful

　　In short, this is the first in a string of Hitchcock masterpieces

　　《Haunting atmospheric treasure SPOILER ALERT》It seems almost superfluous to add to the many laudatory comments this movie has received on this site, but I feel a need to lay some tribute at the altar of this wonderful piece of classic cinema

　　If you haven't seen the movie, there may be a couple of SPOILERS in this review, but hopefully also some new insights in compensation

　　As many have noted, the cast is uniformly excellent: the annoying social snob Edith Van Hopper(Florence Bates), Gladys Cooper's kind, sisterly Beatrice, the eerie Mrs Danvers of Judith Anderson, Olivier's distracted yet explosive Maxim, George Sanders' snide, oily Favell and especially the oft-times underrated second (but unnamed) Mrs DeWinter of Joan Fontaine

　　Although not entirely faithful to the Daphne Du Maurier novel, the screen adaptation preserves the haunting ambiance of Du Maurier's work Rebecca, though never seen, is clearly the central character, but we learn about her all through indirection in the dialogue of the other characters We are allowed to create her piece by piece in our own minds, which just adds to the engrossing, I-can't-stop-watching, thrust of the movie

　　The character who actually tells us the most about the real Rebecca is Mrs Danvers The erotic attachment of this character to Rebecca is subtle, yet unmistakable The wonderful scene in which Judith Anderson shows Rebecca's bedroom to Joan Fontaine is breathtaking in its suggestiveness The West Wing, 'the only room that looks down across the lawn to the sea' has become Mrs Danvers' private temple to Rebecca Her loving preservation of Rebecca's possessions, her sensual handling of Rebecca's underclothes, of her diaphanous negligee, of her glamorous furs and then Anderson's almost hypnotic miming of brushing Rebecca's hair as Fontaine sits at Rebecca's dressing table all make this scene an unforgettable sequence Anderson's acting is absolutely miraculous She achieves her character with hardly ever a change in her affect, except where a very slight contrasting up tick in energy transforms her in the West Wing scene and in the scene where she coolly suggests that Fontaine leave-by means of a precipitous drop out of the window onto the rocks It is a performance which I doubt could ever be duplicated

　　As we later learn of Rebecca's moral character, it also seems that Mrs Danvers was as much in love with Rebecca's corruption as she was with the woman herself 'Danny' in a way becomes the embodiment of Rebecca's cold malevolence which still lingers in the mansion

　　Joan Fontaine could hardly have been better She, of all the characters, evolves through the movie She moves in a seamless line from the pitiful, beleaguered companion of Mrs Van Hopper to her drowned rat arrival at Manderley to the self-assured and supportive wife Maxim wanted and needed What I found fascinating about this transformation is the imaginative skill of the costume designer At the beginning, Fontaine's shy little character is dressed like she made terrible selections at a Macy's basement sale Later as she tries to fill the role of the 'great lady' she believed Rebecca to have been, her clothes always appear too big and totally out of character Note the black evening dress with the absurdly large flowers across the front and especially the overwhelmingly outsized Garden Party gown she tries to wear to the costume ball After she learns the truth about Rebecca from Maxim, discovering that he actually loves her as much as he hated Rebecca, Fontaine's costumes become trim, conservative and tasteful, befitting the genuine, grown-up woman she has become

　　Fittingly, the final scene belongs to Anderson-the frustrated woman robbed of her goddess--who brings the movie to a thundering operatic finish

　　Although Selznick and Hitchcock repeatedly clashed over this move, it remains a deathless tribute to both men This movie never loses its fascination and bears repeated watching, each time weaving its wonderful spell anew It is a must-see, again and again, classic

　　希望对你有所帮助^_^