Customer Reviews

The Ghost Goes West

5 star:		(5)
4 star:		(7)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Of all the great European directors who came to Hollywood in the thirties and forties, René Clair may have enjoyed the most successful exile, directing the classics I MARRIED A WITCH and AND THEN THERE WERE NONE. But, before traveling from Paris over the Atlantic to the New World, Clair enjoyed a brief sojourn in Great Britain, where he made this marvelous and unjustly neglected comedy.

The plot is simple: a land rich/cash poor Scotsman sells the family castle to a rich American millionaire, who has the castle moved to the US stone by stone. The difficulty is that the castle is haunted, and the ghost moves with the castle to its new locale. We therefore get a ghost fantasy with a different twist: a ghost has to deal with culture shock.

For me, three things make this film stand out. First, Robert Donat is marvelous as the ghost/impoverished seller. Had Donat lived later in the 20th century, he would have been far, far more successful as an actor, and infinitely more active. Donat suffered from nearly debilitating asthma condition that severely limited his screen appearances (as well as some serious stage fright, or, in this case, screen fright). This performance is one of his finest. Second, Eugene Pallette enjoys one of his greatest roles. Pallette is perhaps best known as Friar Tuck in the Errol Flynn THE ADVENTURES OF ROBIN HOOD, and almost as well known in THE LADY EVE and MY MAN GODFREY. He actually appeared in a vast number of films from the beginning of the silent era all the way to his death in 1946. Yet, his major roles were relatively few. I find his stern scowl, rotund physique, and softhearted core to be enchanting. The third reason the film succeeds is the deft and light-hearted direction of René Clair. Partly because he suffered a sharp post-WW II decline, Clair is not as fondly remembered as he ought to be. He directed the two Hollywood classic I mentioned above, but was even better in the early 1930s, directing in France such masterpieces as SOUS LES TOITS DE PARIS and À NOUS LA LIBERTE, as well as one of my all time favorite films, the utterly delightful musical LE MILLION.

This film ranks as one of my favorites. Whenever I want to forget the world and lapse into total relaxation this is one of my first choices. It's short and charming, and the Ghost is one of the most irrestible gentlemen that I have ever seen on film.

This somewhat crude, frolicsome satire on America was written by the the great playwright Robert E. Sherwood and was directed by the esteemed Rene Clair: A rich American, played by basso-voiced Eugene Pallette, buys Glourie Castle in Scotland (complete with it's miserable ghostly inhabitant) and has it dismantled and shipped across the Atlantic to Sunnymeade, Florida where it's reconstructed complete with plumbing and electricity...The movie is very lucky in its star: Robert Donat brings elegance and his melancholy face and voice to the dual role of Donald Glourie and Murdoch Glourie, his phantom ancestor - and, intermittently, he redeems the action. Elsa Lanchester and Jean Parker are amusing in this mid-thirties frolic in which Americans were poked fun at. They took the barbs good-naturedly and loved the film; it was a very popular picture at the box-office.

Of all the great European directors who came to Hollywood in the thirties and forties, René Clair may have enjoyed the most successful exile, directing the classics I MARRIED A WITCH and AND THEN THERE WERE NONE. But, before traveling from Paris over the Atlantic to the New World, Clair enjoyed a brief sojourn in Great Britain, where he made this marvelous and unjustly neglected comedy.
The plot is simple: a land rich/cash poor Scotsman sells the family castle to a rich American millionaire, who has the castle moved to the US stone by stone. The difficulty is that the castle is haunted, and the ghost moves with the castle to its new locale. We therefore get a ghost fantasy with a different twist: a ghost has to deal with culture shock.

For me, three things make this film stand out. First, Robert Donat is marvelous as the ghost/impoverished seller. Had Donat lived later in the 20th century, he would have been far, far more successful as an actor, and infinitely more active. Donat suffered from nearly debilitating asthma condition that severely limited his screen appearances (as well as some serious stage fright, or, in this case, screen fright). This performance is one of his finest. Second, Eugene Pallette enjoys one of his greatest roles. Pallette is perhaps best known as Friar Tuck in the Errol Flynn THE ADVENTURES OF ROBIN HOOD, and almost as well known in THE LADY EVE and MY MAN GODFREY. He actually appeared in a vast number of films from the beginning of the silent era all the way to his death in 1946. Yet, his major roles were relatively few. I find his stern scowl, rotund physique, and softhearted core to be enchanting. The third reason the film succeeds is the deft and light-hearted direction of René Clair. Partly because he suffered a sharp post-WW II decline, Clair is not as fondly remembered as he ought to be. He directed the two Hollywood classic I mentioned above, but was even better in the early 1930s, directing in France such masterpieces as SOUS LES TOITS DE PARIS and À NOUS LA LIBERTE, as well as one of my all time favorite films, the utterly delightful musical LE MILLION.

Alas! If this old charmer has been on your "once seen never forgotten' list, and you hope that remastering will bring it to you in improved quality, then you'll be disappointed. I didn't expect anything could be done to improve the stagey, static camera work, but I had hoped for improvement in the sound track. Ah, well, If you can get past these inadequacies, there is much to enjoy. It has an engaging story-line with similarities to Oscar Wilde's "The Canterville Ghost". René Clair, Alexander Korda and Mischa Spoliansky contribute in various ways, and Robert Donat in kilts, sporrans, ghillies, cloaks and broached berets makes a credible Scot and an endearing, re-locating ghost.

Having suffered through some "pretend" picture quality on this title, I was hoping for the best but ready for more of the same. I'm pleased that material this good still survives. You will be happy to introduce this charming film to friends starring an actor who left us way too soon. One of the seminal ghost comedies and a joy to behold.

I ordered this movie on a whim. I was ordering the old Canterbury Ghost and I remembered this one from my old movie watching days. It is similar in nature to the Canterville Ghost, except there is no kid .... more of a romantic comedy with a ghost. Perfect for a lazy winter day.... Very funny. Dated material and black and white is probably a turn-off to today's kids.

The print, apparently made when ordered, is in excellent condition.

I first saw thi movie on TV 50 years ago.and have loved it ever since. As I understand it , the reason why it has poor sound and picture quality is it was poorly preserved over the years and as a result it deteriated ,but I still love it.It may never be available again, sad to say.WM

I saw this movie in the theater when I was about 12 and remembered it fondly. Recently, I found this DVD version and it is still enjoyable although the print is poor and sound pretty mushy. It was made about 1934 and sound was problematic in those days anyway. The story is of a Scottish laird who is more interested in romancing girls than fighting in the war and, as a result, gets blown up. The accidental death is handled with a bit of heavy handed humor and a rival clan is implicated in the event. The ghost of the laird is ordered by his departed father to remain haunting the castle until he revenges the family honor on a descendent of the offending rival clan. This is greatly complicated by the sale of the castle by the last of the family who is broke and glad to be rid of it. The castle is dismantled and shipped to Florida accompanied by the ghost. Robert Donat plays both parts and the romantic interest, the daughter of the rich businessman who buys the castle, is played by a pretty actress I have not seen in anything else. One novelty is a thin and pretty Elsa Lancaster, playing a small part. It is still not bad but the quality of reproduction is pretty poor.

Robert Donat plays a threadbare young Scot forced to sell the family castle and also plays his two-hundred-year-old ghostly ancestor, uprooted when the castle is sold and moved, "stone by stone and panel by panel," to Florida. Eugene Pallette, best known as the long-suffering father in "My Man Godfrey," is a much more buoyant personality in this film, but Jean Parker, a sort of low-rent Jean Arthur, is sweet but a bit washed-out as the love interest. Elsa Lanchester makes maximum impact in the bit part of a richly contemptuous psychic investigator, a role apparently trimmed. (Listen closely, and you'll notice her character's name is mentioned in the ship sequence.) The music is a bit sparse, but well used when it IS used. Most of the comedy is provided by amusing but predictable satire of Scottish and American national character, and there are some moments of sublime silliness. Donat provides the rest of the sublimity. His modern self is a rather dull fellow, but the ghost is a keeper, in full Highland dress, and with both a spectral gravity and an impish charm left over from his pre-limbo womanizing. Over the years I think I've even finally answered the riddle: "What is the difference between a thistle in the heather and a kiss in the dark?" K-I-L-L-I-E-C-R-A---