When Philip (Sam Claflin) receives news that that the man who raised him has died shortly after marrying the mysterious Rachel (Rachel Weisz), he plans to confront the woman he believes is responsible. After she arrives, however, Philip slowly falls for her charms and begins overlooking her suspicious behaviour despite the constant protestations of those around him. This is the kind of film that begins with the weather as a portent for dangerous things to come, the wind outside throwing open the shutters just as Philip learns of Rachel’s possible involvement in his beloved cousin’s life and subsequent death. When this kind of thing works, it’s because the film knows what it is and doubles down on the pulpiness. To a modern audience especially, Philip comes across as profoundly stupid, and his naivety comes from his complete lack of experience with the fairer sex. We’re told early on that women were not permitted in Ambrose’s home while Philip was growing up, and later he’s shown to be innocently perplexed by Rachel’s behaviour. He’s never seen a woman cry before, he tells her, and it’s clear this is reason he is so immediately enthralled by her. Weisz, as normal, is also excellent as the potentially duplicitous Rachel. It’s a role that requires whoever inhabits her to come across beguiling and sinister at the same time, and that line is straddled expertly. Similarly, Holliday Grainger is arresting in the rather thankless role of Louise, daughter of Philip’s legal guardian and his unrequited admirer. Where My Cousin Rachel offers more than the now-familiar beats of its source material is in its examination of gender roles of the time. The audience understands from the start that, if Rachel is indeed manipulating her new landlord into transferring his wealth and assets to her, it is only because she is not afforded any of her own. Similarly, Philip is presented as immature and entitled when it comes to his new guest, and his behaviour is indicative of a society that trades women from one man to another as a matter of course. Philip believes that Rachel belongs to him because everything he knows tells him that’s the truth, and he cannot imagine a scenario in which she has any choice of her own. Is Rachel just a sweet widow, her life constrained by society’s need to attach her to a husband, or is she a master manipulator, using Philip to further her chances in a world hostile to women like her? That’s the question My Cousin Rachel poses, but refuses to answer. While it’s an intriguing set-up and the strong performances more or less sell it, the execution may leave you feeling a little underwhelmed and slightly bewildered. My Cousin Rachel in UK cinemas now.