My Cousin Rachel Soundtrack (

My Cousin Rachel Soundtrack (1952) cover

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Rating: 7.00/10 from 3400 votes
Alternate Names:
Title in Español:

Mi prima Rachel

Title in Italiano:

Mia cugina Rachele

Title in Português:

A Minha Prima Raquel

Title in Français:

Ma cousine Rachel

Title in Türk:

My Cousin Rachel

Title in Deutsch:

Meine Cousine Rachel

Synopsis

My Cousin Rachel is set in the early 1830s. Twenty-four year old Philip Ashley has lived under the guardianship of his older wealthy cousin Ambrose Ashley in Ambrose's manor house on the Cornish coast of England since the passing of Philip's parents when he was a child.

Ambrose has meant everything to Philip. Although he understands, Philip is nonetheless sad to see Ambrose leave temporarily for Florence, Ambrose who needs to get away from the English winters for health reasons.

Ambrose's temporary vacation seems to turn permanent when he writes back to Philip stating that he has fallen in love and married widowed Rachel Sengelletti, a cousin by marriage and a native Brit who moved to Italy upon her first marriage.

Philip's sadness turns to troubledness when he receives two subsequent letters from Ambrose in his deteriorating handwriting in a crazed style stating that he no longer trusts anyone in Florence including Rachel who is tormenting him, and that his health is declining.

When Philip arrives in Florence to help Ambrose, he finds that Ambrose had died three weeks earlier of a brain tumor, something that Philip had recently learned was also the cause of Ambrose's father's death.

Ambrose's will leaves everything to Philip to be held in trust until his twenty-fifth birthday. Rachel left Florence immediately following Ambrose's death, not certain if she would ever return.

Not trusting that Rachel didn't kill Ambrose for his money perhaps not knowing about the will beforehand, Philip leaves word for Rachel to come to Cornwall for a visit, his intention to confront her with his suspicions.

Upon Rachel's arrival in Cornwall, Philip finds that she is not the staid, middle-aged shrew he was expecting, but rather a somewhat young, vibrant and attractive woman. He quickly falls for her, and has every intention of marrying her.

And even if she doesn't agree to marry him, he intends to sign over Ambrose's estate to her as he learns second hand that Ambrose was intending on doing so, he not having changed his will before his death, and learns that Rachel is deep in debt.

But Philip's life could be in danger if his earlier suspicions about Rachel are true, that she killed Ambrose for his money, as Philip's legal agreement states that Ambrose's money would revert back to him if she ever were to remarry, a belief some have that she is working in cahoots with her Italian lawyer, Guido Rainaldi, who may be that intended husband for love.

Download and play the Soundtrack list

Play Title Artist
My Cousin Rachel
Who's To Blame
Rael Jones: Performer
Memory of a Happy Day
Rael Jones: Performer
Headaches Blind Me
Rael Jones: Performer
By The Throat
Rael Jones: Performer
Clean Up
Rael Jones: Performer
Happy Day
Rael Jones: Performer
Christmas
Rael Jones: Performer
Tisane
Rael Jones: Performer
Signing
Rael Jones: Performer
I Will Not Permit It
Rael Jones: Performer
First Kiss
Rael Jones: Performer
Vine Climb
Rael Jones: Performer
Laying in Bluebells
Rael Jones: Performer
You Belong Here
Rael Jones: Performer
Broken Pearls
Rael Jones: Performer
What I Lack
Rael Jones: Performer
Cliff Path
Rael Jones: Performer
Muggins
Rael Jones: Performer
Hallucinations
Rael Jones: Performer
Laburnum
Rael Jones: Performer
Follow That Horse
Rael Jones: Performer
Enlightenment
Rael Jones: Performer
Gallop To The Coast
Rael Jones: Performer
Who's To Blame - Reprise
Rael Jones: Performer
Suspicion
Rael Jones: Performer
My Torment
Rael Jones: Performer
20th Century Fox Fanfare (with CinemaScope extension) (Alfred Newman)
David Arnold: Performer
All About Eve (1950) - Main Title / The Award (Alfred Newman)
David Arnold: Performer
How Green Was My Valley (1941) - The Family and Bronwen / Finale / End Title (Alfred Newman)
David Arnold: Performer
The Song of Bernadette (1943) - The Vision (Alfred Newman)
David Arnold: Performer
Laura (1994) - Main Title (David Raksin)
David Arnold: Performer
The Ghost and Mrs. Muir (1947) - Prelude / Local Train / The Sea (Bernard Herrmann)
David Arnold: Performer
Captain From Castile (1947) - Conquest (Alfred Newman)
David Arnold: Performer
Twelve O'Clock High (1948) - Main title (Alfred Newman)
David Arnold: Performer
The Day The Earth STood Still (1951) - Prelude / Outer Space / Radar (Bernard Herrmann)
David Arnold: Performer
Viva Zapata! (1952) - Gathering Forces (Alex North)
David Arnold: Performer
My Cousin Rachel (1952) - Main Title (Franz Waxman)
David Arnold: Performer
The Robe (1953) - Main Title / Caligula's Arrival / Finale (Alfred Newman)
David Arnold: Performer
Prince Valiant (1954) - Main Title / King Aguar's Escape (Franz Waxman)
David Arnold: Performer
Untamed (195) - Main Title (Franz Waxman)
David Arnold: Performer
The Rains of Ranchipur (1955) - Main Title (Hugo Friedhofer)
David Arnold: Performer
How to Marry a Millionaire (1953) - Street Scene (Alfred Newman)
David Arnold: Performer
The Seven Year Itch (1955) - Main Title (Alfred Newman)
David Arnold: Performer
Three Coins In The Fountain (1954) - Prelude / Rome (Victor Young)
David Arnold: Performer
Love Is A Many-Splendored Thing (1955) - Main Title / God Has Been Good / Finale (Alfred Newman)
David Arnold: Performer
The Long, Hot Summer (1958) - The Long, Hot Summer, Lyrics by Sammy Cahn, Performed by Jimmie Rodgers / Two Butterflies
David Arnold: Performer
From The Terrace (1960) - Love Theme (Elmer Bernstein)
David Arnold: Performer
Disc Time:
David Arnold: Performer
Cleopatra (1963) - Main Title / Cleopatra Enters Rome (Alex North)
David Arnold: Performer
The Sand Pebbles (1966) - Overture / Main Title (Jerry Goldsmith)
David Arnold: Performer
Planet Of The Apes (1968) - Main Title / The Hunt (Jerry Goldsmith)
David Arnold: Performer
Patton (1970) - Main Title / German Advance (Jerry Goldsmith)
David Arnold: Performer
Tora! Tora! Tora! (1970) - Main Title (Jerry Goldsmith)
David Arnold: Performer
The French Connection (1971) - Main Title / This Is It (Don Ellis)
David Arnold: Performer
The Poseidon Adventure (1972) - Main Title (John Williams)
David Arnold: Performer
The Paper Chase (1973) - End Title (John Williams)
David Arnold: Performer
Conrack (1974) - Main Title (John Williams)
David Arnold: Performer
The Omen (1976) - Ave Satani (Jerry Goldsmith)
David Arnold: Performer
Magic (1978) - Main Title (Jerry Goldsmith)
David Arnold: Performer
The Fury (1978) - For Gillian / End Title (John Williams)
David Arnold: Performer
Alien (1979) - Main Title (Jerry Goldsmith)
David Arnold: Performer
Norma Rae (1979) - It Goes Like It Goes (Lyrics by Norman Gimbel, Performed by Jennifer Warnes) (David Shire)
David Arnold: Performer
Author! Author! (1982) - Main Title (Dave Grusin)
David Arnold: Performer
Max Dugan Returns (1983) - End Title (David Shire)
David Arnold: Performer
Romancing The Stone (1984) - End Title (Alan Silvestri)
David Arnold: Performer
Commando (1985) - Prologue / Main Title (James Horner)
David Arnold: Performer
Predator (1986) - Main Title (Alan Silvestri)
David Arnold: Performer
The Fly (1986) - Main Title (Howard Shore)
David Arnold: Performer
Lucas (1986) - Main Title (Dave Grusin)
David Arnold: Performer
Raising Arizona (1987) - Way Out There (Carter Burwell)
David Arnold: Performer
Wall Street (1987) - Bud's Scam (Stewart Copeland)
David Arnold: Performer
Big (1988) - Opening (Howard Shore)
David Arnold: Performer
Broadcast News (1987) - Young Jane / Main Title (Bill Conti)
David Arnold: Performer
Die Hard (1988) - The Nakatomi Plaza / Gruber's Arrival (Michael Kamen)
David Arnold: Performer
The Abyss (1989) - Bud on the Ledge (Alan Silvestri)
David Arnold: Performer
Hoffa (1992) - End Credits (David Newman)
David Arnold: Performer
Mrs. Doubtfire (1993) - Main Title (Howard Shore
David Arnold: Performer
Speed (1994) - The Rescue (Mark Mancina)
David Arnold: Performer
Cast Away (2000) - End Credits (Alan Silvestri)
David Arnold: Performer
Unfaithful (2002) - Unfaithful (Jan A.P. Kaczmarek)
David Arnold: Performer
Ice Age (2002) - Opening Travel Music (David Newman)
David Arnold: Performer
I, Robot (2004) - End Credits (Marco Beltrami)
David Arnold: Performer
Fantastic Four (2005) - Main Titles (John Ottman)
David Arnold: Performer
Night At The Museum (2006) - Night At The Museum (Alan Silvestri)
David Arnold: Performer
Horton Hears A Who! (2008) - Horton Suite (John Powell)
David Arnold: Performer
Independence Day (1996) - End Credits (David Arnold)
David Arnold: Performer

User reviews

Andrew Hernandez
6/10

Overall, the musical score of My Cousin Rachel plays a vital role in enhancing the film's atmosphere and emotional impact, making it a standout element of the viewing experience.

Michelle Moore
9/10

The use of orchestral arrangements in the soundtrack of My Cousin Rachel is truly captivating. The music immerses the listener in the world of Philip Ashley, effectively conveying the tension and intrigue surrounding the relationships and secrets that unfold throughout the film.

Mary Adams
6/10

The soundtrack of My Cousin Rachel showcases the talents of the composer in creating a cohesive and evocative musical landscape that complements the unfolding drama on screen.

Ronald Carter
6/10

The soundtrack features a blend of melancholic melodies and dramatic crescendos, creating a dynamic range of emotions that keep the audience engaged and invested in the narrative.

Donald Lee
10/10

The soundtrack of My Cousin Rachel perfectly captures the haunting and mysterious atmosphere of the early 1830s setting. The music elegantly blends classical compositions with subtle hints of suspense, enhancing the emotional depth of the storyline.

Donald Scott
5/10

The emotional depth conveyed through the music helps to amplify the complex relationships and moral dilemmas faced by the characters, adding layers of nuance to the storytelling.

Donna Jackson
5/10

The soundtrack of My Cousin Rachel effectively captures the haunting and mysterious atmosphere of the film, immersing the viewer in the setting of early 1830s England.

Donna Brown
5/10

The musical score enhances the tension and suspense in key scenes, building a sense of unease and uncertainty that mirrors the protagonist's own suspicions and fears.

Lisa Miller
6/10

The use of classical instruments in the soundtrack adds a touch of elegance and sophistication to the overall sound, complementing the film's period setting and rich visual aesthetic.

Melissa Johnson
5/10

The haunting motifs and recurring themes in the music serve to underscore the themes of betrayal, suspicion, and forbidden desire that drive the plot of the film.

Karen Moore
5/10

The choice of music in pivotal moments of the film effectively heightens the drama and enhances the impact of key revelations, making for a more immersive viewing experience.

Paul Jones
6/10

The soundtrack's ability to evoke a sense of foreboding and mystery adds an extra layer of intrigue to the narrative, keeping the audience on edge and guessing until the very end.