Every once and a while, a writer devises a ghost story that is not mere horror or thriller, but expands the eerie vibe to a more intimate otherworldly friendship or romance. Two of my favourites are the oddball buddy comedy Blackbeard’s Ghost (released by Disney in 1968) as well as the 1990 romantic dramedy simply titled Ghost. I now have a third excellent film to add to this rather abstract list – the 1947 motion picture The Ghost and Mrs. Muir.
Joseph L. Mankiewicz directs Philip Dunne’s screenplay (which is based on R.A. Dick’s 1945 novel), which follows a recently widowed woman named Lucy Muir (Gene Tierney) who is leaving her mother and sister-in-law for the more serene, rural seaside. Going with her on this journey is her motherly maid Martha (Edna Best) and her daughter Anna (a very young Natalie Wood).
Mrs. Muir peruses numerous rental homes with the help of an agent, who continuously steers her away from her first choice – Gull Cottage. She finally forces him to show her the secluded home and immediately falls for the its old-world charm, nautical-style decor, stunning views, reasonable price and hidden locale. Yet, as they tour the upstairs, the twosome are scared out of the home by a menacing laugh from a bodiless entity.
She is told that it is the voice of Captain Daniel Gregg (Rex Harrison), a gruff man who supposedly committed suicide four years earlier – and that the home has never been able to hold a tenant for a single night since. Despite the rather intense experience, the widow shakes off the feeling as well as the spook tale and rents the expansive home (explaining that the lifelike sound was probably just the wind blowing through the aging chimney).
Late one rainy evening as Mrs. Muir is preparing her hot water bottle for the cold night ahead, all of the gas lamps go out (and the matches she tries to strike continue to be blown dead). She challenges the supposed spook and we learn that he has always been there, skulking in the dark shadows. Though he is trying to scare her away, the widow is not frightened and they strike a bargain – that he will confine himself to his bedroom as long as she does not change the decor (while also placing his portrait in the quarters). He is also not to disturb Anna. This places the turn of the 20th century woman in the bedroom with the manly ghost (a rather taboo thing for the time).
When news comes from her family that the gold mine that has been funding her reclusive life has gone dry, it looks like her dream of enjoying the home may be dead. The Captain, who has grown fond of the beautiful and feisty lass, suggests that she write a book on his life as a way for her to remain in his house. The two strike up a successful friendship as they work towards keeping her in the manor they now share.
The rather impressively connected ghost is even able to track down a reasonable publisher – who falls in love with the biography. While at his office, a very well put together Miles Fairley (George Sanders), who is a famed author of children’s books, falls head over heels for the striking lady. Though originally unreciprocated, his persistence pays off as he escorts her to a cabbie in the rain (with the help of his trusted umbrella). He tags along for the ride to the train station, where he nabs her handkerchief as a memento of their first meeting.
The lonesome woman, whose only two friends are her kindly maid and the ghost that she has spent the last several months writing with, ends up falling for the overzealous, vain suitor – creating a rather unusual competition for the lady’s affections. She chooses life over death, with all of its flawed issues, and the Captain, who knows that his love will never be requited, enters her room while she is sleeping and sadly says goodbye to his soul mate. He nearly kisses her (with his vividly alive shadow caressing her flawless face), while he explains to her that she has made the only choice she could have, that he will not bother her anymore (as it would only confuse the matter), and that she will now only remember him as a dream that will slowly fade from her memory (as all dreams do). The door that first swung open and allowed for him to enter her life, now shuts behind him.
Will Mrs. Muir find love in life or will she be left with nothing but her fleeting dream-like memories?
The Ghost and Mrs. Muir is a superb film, with excellent dialogue, crisp cinematography, superb acting and near perfect direction. Each and every scene is stunningly lit, making for a lively canvas for us to enjoy. Moments, such as when the Captain first appears or when he makes his final impassioned speech to his love before he slowly dissipates into the unknown, are more than impressive. The lighting, framing and effects are so powerfully striking, with our first viewing of the Captain’s portrait being just one example of this. The use of black and white – not a camera trick, to hide the ghost in that initial scene is such an interesting way to introduce a character. In his final farewell, the way that he disappears is so rivetting, unlike other simple effects of that era, as he fades away in portions until only his vivid face remains.
The acting is also worth discussing. Rex Harrison is impressive as the ghost who has an unbelievably strong presence (a rather unorthodox thing for a spectre). His gruff delivery and hauntingly romantic, yet mostly hidden infatuation with his kindred spirit, is melancholically beautiful. Even his all black attire symbolizes an almost female-like mourning. Gene Tierney, is, as always, angelic in her role. Her striking features, rather traditional demeanor and reclusive character also hold a complex, bittersweet vibe. Edna Best, someone who has mostly been lost to time, is a prime example of a more than solid character actress (who moved to Hollywood from Britain – where she was a bigger name) that played vital secondary roles in the 1940’s – in this film, she makes us believe that despite her lower class, she is truly a caring friend and an equal on some spiritual plane with her mistress.
Just as important as all of the other great features of this motion picture is the impressive score from master Bernard Hermann. His composition is equally as rich as the complex film, capturing the deep yearning, melancholic memories, haunting mystery, and other-worldly romance found in the rich set of images and thoughtfully constructed dialogue. It is a rather different score when compared to some of his later works, such as North by Northwest or Psycho.
The Ghost and Mrs. Muir is a powerful film that should strike even the most cold-hearted of individuals. Its unusual story illustrates the complexities of true love and the pain of missing out on it, as well as how memories play a part in this adventure. The tone of the movie is an interesting concoction of drama and comedy, mixed with a heavy dose of both hearty and bittersweet romance – an impressive and rare feat, be it today or seventy years ago. So, watch this hauntingly romantic film to discover more about the spirit of true love.
I loved this movie. It had all the elements of a dark mystery but lighthearted as well.
Your review was right on. I saw this movie twice and would watch it again .
It reminds me of a romantic era long gone. Loved it Nik!
I would like to see a modern day depiction with stars like Amy Adams and Pierce Broznan in the main roles.
I watched it first as a teenage girl and fell in love with the captain (and the cottage) then. I have watched it many times since. It is as you said, perfectly cast, directed and filmed. The series in the seventies was fun, but the lead actors didn’t have the same chemistry as these two. Timeless.
I finally got around to seeing this for the first time a couple of weeks ago. It is a truly romantic film with a fitting ending. Loved it!