A modern interpretation of the classic Daphne Du Maurier novel and much respected 1940 film adaptation, Netflix’s “Rebecca” brings little more to the table than gorgeous sets and costumes. Like many Netflix films before it, the sleek and unimpressive editing, script and direction do the film no harm, but similarly do the film no good. Removing the novel’s key themes of unhealthy relationship dynamics and romantic entrapment by erasing much of the subtext present in both the book and the first adaptation, the decision to make the film a much lighter, throwback psychological horror with minimal underlying meaning is frustratingly apparent.

Working as a companion to a wealthy and rude American woman traveling on holiday in Monte Carlo, an unnamed, naive young woman (Lily James) meets the rich English widower Maxim de Winter. Lacking any family or home of her own, she is immediately taken by his confidence and a relationship quickly sparks. After a mere two weeks of courtship, the two quickly marry and move together to his large estate on the seaside of Cornwall, England. The life of a lady of the manor does not come naturally to the young bride, and everywhere she turns there seems to be a sign from Maxim’s first wife, Rebecca, who tragically died about a year before. Trying to settle into her new life, she faces difficulty at every turn with the housekeeper, an older woman fiercely devoted in undermining the new Mrs. De Winter at every opportunity. As the dream life she had once pictured with Maxim seems to crumble, she begins to question her capabilities as a lady in high society and, more pressing, Maxim’s honesty about Rebecca.

Starring Lily James and Armie Hammer as the central couple, their limited chemistry ironically serves the film well. Though the film decided to remove the key toxicity and manipulation key to the relationship in the original book, their lack of consistent and apparent distaste for one another, whether intentional or not, allow the film to maintain some air of the original story’s intent. No doubt missing the point entirely, “Rebecca”s obvious misdirection may

have been forgiven had the film stood out in any area beyond its gorgeously romantic costumes and sets. Bringing a story of complexity and bad-behavior into a milquetoast depiction of class expectations without any deeper analysis, director Ben Wheatley’s decision to be neither entirely faithful to the novel or make his own glossy, classy pulp interpretation puts it in an odd, frustrating limbo.

Filled with carefully curated furniture, architecture, and grand costumes, “Rebecca” is nothing if not incredibly polished. However, underneath that bright, eye-catching shimmer is a disappointing lack of substance. While “Rebecca” is a perfectly suitable romantic mystery, the mass of squandered potential is nothing if not frustrating. Entertaining to a degree, the movie is far from terrible, but finds itself nonetheless stuck within its own shadow.

Grade: C-

Rose Dunton of Nampa is a former Idaho State University student. Proficient in Japanese, she is an avid film buff.