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Vonnie, the Times reviewer also said "Why did they not just plunk Kristen Scott Thomas down in the middle of the screen and call the show Mrs. Danvers? I would watch the hell out of that!"
I want THAT show.
Much like
Wuthering Heights,
I never thought of
Rebecca
as romantic. Lurid mysteries with some romance elements (and totally unlikeable male romantic figures), but not Epic Sweeping Romance.
(Maxim is a weak-willed patsy with no spine. No one can change my mind.)
(Yes, my favorite character in the book is Mrs. Danvers.)
There was a miniseries version from 1979 that I saw on PBS. Jeremy Brett was Maxim. That was my first Rebecca, and my one true Rebecca.
Actually, I'd be more likely to watch Mrs. Danvers - with Kristin Scott Thomas or someone equally good - than a(nother) remake of Rebecca. It would be interesting to see the story from her viewpoint.
But I WAS reminded of a Wuthering Heights with social distancing.
Given that they're setting the story in the Second Age, my first thought was "decadent Numenorean orgy."
On a more promising note, a glowing review from Vanity Fair of a Netflix miniseries that's dropping tomorrow, The Queen's Gambit: [link]
It stars Anya Taylor-Joy as a chess prodigy in 1950's Kentucky, who's one of the handful of young up-and-comers whose work I'm always willing to check out (also see: Florence Pugh, LaKeith Standfield.)
I read the book - it was very good. One of the few written by a man about a young woman that struck me as being more realistic than most such.
The Queen's Gambit
DH and I really enjoyed this.
thanks for the heads-up, Vonnie, that sounds good.
I came across a review of Rebecca earlier:
Netflix has released a new film version of Daphne du Maurier's Rebecca ... It's dreadful! Don't watch it, unless you're in the mood for a really bad movie. Though even as a bad movie, this new Rebecca doesn't do much to entertain. Its choices aren't weird or amusingly bad so much as perfunctory. It does the things that a sumptuous period/literary adaptation is supposed to do to "improve" on a stone cold classic in a way that feels almost insulting, as if the only reason for its existence is that a Netflix executive slapped their hand on a conference table and exclaimed "dammit! No millennial is going to watch a black and white movie from 1940! We've got make it in color, sexier, and more woke!" ... Reader, it is none of those things (well, I suppose it is in color).
As was suggested, it's bad.
