It was probably wise that Garbo elected not come out retirement at age 47 to play Rachel opposite 27-year old Burton. While it would have been an interesting film, the 20-year age difference might have stretched credibility a bit.
As it happened, 36-year old De Havilland worked much better. After a three year hiatus following her triumphant Oscar winning turn in "The Heiress," Olivia looked fresh, radiant, and completely on top of her character. In fact, her peerless performance here signaled the end of her "great period," thereafter her interest in films seemed to have gradually declined.
In only his sixth film, Burton burst onto the American screen with pent up fire and emotion. This supremely gifted Welsch actor seemed almost too gifted in too many areas, resulting in a personality which demanded constant challenge and involvement. Without such consistencies a self destructiveness could and apparently did occur. It was no surprise that strong spirits entered the scenario as lifelong companion.
The film itself is beautifully photographed by Joseph LaShelle, richly scored by Franz Waxman, and romantically directed by Henry Koster from a Nunnally Johnson script-- which was in turn true to Daphne Du Maurier's Gothic novel.
The "formless fears" mentioned at the outset paved the way for an intriguing ambiguity running throughout a strange tale of mystery and suspicion. The cast is uniformly fine, and the production is a jewel in Twentieth Century Fox's cinematic crown.
As it happened, 36-year old De Havilland worked much better. After a three year hiatus following her triumphant Oscar winning turn in "The Heiress," Olivia looked fresh, radiant, and completely on top of her character. In fact, her peerless performance here signaled the end of her "great period," thereafter her interest in films seemed to have gradually declined.
In only his sixth film, Burton burst onto the American screen with pent up fire and emotion. This supremely gifted Welsch actor seemed almost too gifted in too many areas, resulting in a personality which demanded constant challenge and involvement. Without such consistencies a self destructiveness could and apparently did occur. It was no surprise that strong spirits entered the scenario as lifelong companion.
The film itself is beautifully photographed by Joseph LaShelle, richly scored by Franz Waxman, and romantically directed by Henry Koster from a Nunnally Johnson script-- which was in turn true to Daphne Du Maurier's Gothic novel.
The "formless fears" mentioned at the outset paved the way for an intriguing ambiguity running throughout a strange tale of mystery and suspicion. The cast is uniformly fine, and the production is a jewel in Twentieth Century Fox's cinematic crown.