The Ghost and Mrs. Muir

After her husband dies, Lucy Muir (Gene Tierney) decides to move away from London to a small seaside resort. She has to persuade the real estate agent, Mr. Coombe (Robert Coote), to show her the home that sounds most attractive to her--Gull Cottage. At first she can't figure out why he's so reluctant to pursue the home with her, but while she's looking at the "cottage", she experiences an apparent haunting. Both she and Mr. Coombe go running out of the house. To Mr. Coombe's surprise, Lucy decides to rent the Gull Cottage anyway.

Director Joseph L. Mankiewicz' The Ghost and Mrs. Muir combines a number of genres in an unusual way, gently poking fun at the conventions of each as they arrive in turn. The film begins as if it will be a somewhat traditional 1940s horror story. The setting is reminiscent of Alfred Hitchcock's Rebecca (1940) and Lewis Allen's The Uninvited (1944). Mrs. Muir's first visit to the home has classic understated "eerie" moments, with Mrs. Muir dressed in a creepy, Gothic black veil, coat and dress (ostensibly, she's still in mourning).

Shortly after, the film quickly moves into more comic territory. A more straightforward dramatic section follows, then romance, back to drama, and finally it ends as a fantasy film. That might sound like a bit of a mess, but Mankiewicz easily unifies the proceedings so that the genre tour is really only apparent on analysis. In a book about the film by Frieda Grafe, published by the British Film Institute, Mankiewicz is quoted as saying that he considered the film to be "hack work", and that his intention was primarily to show the studio that he was capable of delivering efficient craftsmanship. While a quick glance at my rating confirms that I wouldn't denigrate the film as "hack work", the genre parade is interesting in light of Mankiewicz' stated intent.

A central theme throughout The Ghost and Mrs. Muir, directly hinted at a number of times by dialogue about progressivist attitudes in the twentieth century, is that of gender roles. The theme is most overtly realized when Mrs. Muir pens a salty seafaring book and takes it to a publisher. She is dismissed at first with an assumption that she must be presenting shallow, sappy "women's literature", but is quickly published once Mr. Sproule (Whitford Kane) realizes the novelty of the book. Of course, he assumes that she must have been shopping it for her husband, or some other gentleman friend.

The theme is worked throughout the film in countless more subtextual ways, also, and leads to an interesting interpretation of the bulk of the film--is Captain Daniel Gregg (Rex Harrison) real? Or is he a figment of Lucy and her daughter's imaginations? There is a strong suggestion that he was just imaginary, sparked in Lucy's mind by his portrait, the house, and the maritime décor still present. Literally, the film suggests at one point that Lucy and her daughter are fooling themselves into believing he was imaginary, but it could be read as a double cross (or a double negation)--we are fooled into believing that they're just fooling themselves, and the reality is that Captain Gregg is a catalyst for allowing the gender role changes exhibited by Lucy and her daughter, who even basically asks her boyfriend to marry her, rather than the other way around.

At any rate, real or not, Captain Gregg is an enjoyable character in an enjoyable, lightly comic film that pleasantly mixes a variety of genres. Fans of the film should be aware that it was based on a novel by R.A. Dick, and spawned a television sitcom with the same title that first aired in the U.S. in 1968 and ran for 50 episodes.

I first saw this movie when I was very young - maybe 9 or so - when my mother rented it. I remember watching it over and over again. When I saw that the DVD had come out I didn't even hesitate; I bought it right away. I'm glad I did.

There are many themes that find their way into this movie: feminism, romance, the supernatural, etc. The one that struck me the most was a longing for something that could never be while maintaining the practical to survive. There is a constant tension between Gene Tierney (Mrs. Muir) and Rex Harrison (Captain Gregg) that is never really satisfied. Words of love are never spoken, not even in the passionate monologue from Rex Harrison. But they are unnecessary because the undercurrents are so strong. Through this tension they work and live normally because what else is there to do? Because of this there is a layer of sad acceptance in the actions of Mrs. Muir and Captain Gregg, which is understandable to all of the audience - this is an emotion that all people are forced to feel at one point or another.

From a technical standpoint, the film is obviously in black and white which does nothing to detract from the story. The cinematography was nominated for an Oscar, and should have won in my opinion. I also am one of many that want to rebuild the house and live there forever. The passage of time should definitely be noted, as it was masterfully portrayed.

On the whole, it is a wonderful movie which I would recommend to anyone.

Joseph L. Mankiewicz was the right choice for directing this film. He created a film that survived the passage of time. The R. A. Dick's novel was adapted by Philip Dunne. "The Ghost and Mrs. Muir" is blessed with one of Bernard Herrmann's best film scores. The music greatly enhances what one is watching on the screen. Charles Lang's cinematography gives the illusion we are somewhere on a remote spot of England, when in reality the film was shot in California!

"The Ghost and Mrs. Muir" gave its star, Gene Tierney, one of the best roles of her career, after "Laura". Ms. Tierney had the fragility to portray Lucy Muir, the plucky young widow that decides to move to the coast against her in-laws wishes. The idea of the film plays well as it unfolds because obviously, it's all in Mrs. Muir's mind all what she is experiencing.

Rex Harrison's Capt. Daniel Gregg was also one of his best opportunities as a leading man in the movies. Mr. Harrison is perfect as the crusty old seaman that refuses to abandon his beloved home overlooking a beautiful view of the sea. Mr. Harrison plays well opposite Ms. Tierney; their chemistry works well because it combines his rugged good looks and her beauty.

The supporting players are good under Mr. Mankiewicz' direction. George Sanders, Edna Best, Natalie Wood, Robert Coote, Vanessa Brown, all give good performances and enhance the film.

This film will always be a favorite for fans, young and old.

Gene Tierney is an impoverished widow who manages to find a suitable seaside cottage for herself, her maid and her daughter (Natalie Wood), only to discover that its former occupant is a strong-willed, salty sea captain (Rex Harrison) who is opposed to anyone else living at Gull Cottage. How their relationship grows and changes is the basis for the rest of the fantasy.

Tierney has her best role since 'Laura' as the lovely widow, engaging in many witty dialogs with Harrison's ghost with their relationship ultimately leading to a wistful ending. The mood of the period fantasy is enhanced by Bernard Herrmann's exquisitely sensitive score, capturing the atmosphere of the seaside cottage at the edge of a cliff. George Sanders has an amusing role as a man who almost convinces the widow that he's not a married man. Touches of humor abound in early scenes of Tierney with her relatives who are opposed to her independent decision to find her own lodgings.

Later remade as a TV series in the '60s which never captured the charm of the original story filmed with such tender care by director Joseph L. Mankiewicz from a screenplay by Philip Dunne. A delightful movie that will remain fresh and young forever.

If I may say so this film is one of the most haunting and lovely romances ever on screen - ghost and all. Once you step back in time into that prim, Victorian world it is hard to turn away. That's what makes for great movies.

Gene Tierney is perfect in her role as Lucy, a young widow, very strong-willed and with a mind of her own. She decides to leave the home and relatives of her late husband to find a new life of independence for herself and her daughter. She is shown "Gull Cottage" by an agent and is determined to rent the seaside cottage although it's known to be haunted by the ghost of a sea captain.

Eventually, once settled into her new surroundings, she is confronted by the apparition of Captain Daniel on a blustery stormy night. Their acquaintance does not get off to an easy start but he decides she can stay and won't trouble her with his houndings which would have ordinary people put to flight and making a hasty retreat. Her amusing exchanges with the captain, played by Rex Harrison, are a delight. I particularly liked her expressions which were corrected by him, such as: (she describes) sheets bellying in the wind, (he, correcting her) sails billowing; (she, in a flurry for him to be gone, asks him to) decompose, (he haughtily retorts) dematerialize, madam!

When she develops an interest in a certain outsider, Miles Fairley, suitably performed by that perennial ladies' man, George Sanders, well the captain becomes very annoyed and tells her, "I said you should see men, not perfumed parlor snakes," which I thought was amusing and a very apt description.

I think the overall tone of the story tends to confirm a universal belief in an afterlife form of existence, a conviction as old as mankind itself. However, in this story the emphasis gradually shifts to supplanting the experience of a ghostly dialogue exchange with that of a dream state as being the source of reality, in effect Lucy dreamed it all, even the writing of the book, which is something I would question but that's another matter.

The exquisite music throughout the film sets the mood beautifully in expressing the many changes varying from haunting, romantic atmosphere to frolicsome (when the captain is up to his pranks), as well as the churning turbulence of the majestic waves along the shore.

I've recently acquired the DVD and appreciate having the subtitles now which brings out more details of the dialogue. This is a very special movie one doesn't easily forget, and so well done, pure artistry on film.