Daphne Du Maurier with her father, Sir Reginald Du Maurier, Hampstead, 1925
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Daphne du Maurier, from “My Cousin Rachel”
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[...] the expression on her face was ageless, haunting, as though she possessed in her lithe body an old soul that could not die; centuries in time looked out from those two eyes, she had contemplated life so long it had become indifferent to her.
Daphne du Maurier, My Cousin Rachel, 1951
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HAPPY 36th BIRTHDAY HOLLIDAY GRAINGER ˚ʚ♡ɞ˚
"Sometimes people have a lack of imagination, for years I wasn’t bored of being in period dramas, I was just bored of being asked, ‘Am I bored of being in period dramas? And it does make you think, ‘Oh, should I switch this up now? Should I do something different?’ But actually, it sounds so cliché, but it’s all about the story and the characters. I think that historically they’ve been a stepping stone for white, middle-class English actresses, that these are your opportunities, and these are the roles… I do feel like it used to be a rite of passage. Like, ‘Now you can play the lead in a period drama, well done!’ [But] quite often they have been the good roles. I remember thinking that of all the scripts that I used to read, the best and most complex characters were often in period dramas, and that there weren’t very many opportunities outside of that to really explore complex issues. But I think that that’s changing now."
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From Dapne du Maurier 's Tale :' My Cousin Rachel ', illustrated by Errol Le Cain, 1970
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Daphne Du Maurier, from "My Cousin Rachel"
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Daphne (2007) by Clare Beavan
Book title: My Cousin Rachel (1951) by Daphne du Maurier
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CLASSIC ADAPTIONS OF DAPHNE DU MAURIER:
Jamaica Inn (1939) dir. Alfred Hitchcock
Rebecca (1940) dir. Alfred Hitchcock
My Cousin Rachel (1952) dir. Henry Koster
The Birds (1963) dir. Alfred Hitchcock
Don't Look Now (1973) dir. Nicolas Roeg
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Daphne du Maurier, from “My Cousin Rachel”
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Richard Burton | My Cousin Rachel (1952)
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"I think Louise is emotionally complex but she doesn’t over-pinpoint anything which kinda leaves you the audience with these questions and ambiguity."
— HOLLIDAY GRAINGER
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