Leofwine_draca THE GHOST AND MRS. MUIR is a romantic comedy with a supernatural twist. The statuesque Gene Tierney moves into a seaside comedy only to discover that it's already occupied in the form of Rex Harrison's gruff but friendly ghost who has designs on her. Said ghost proceeds to interfere in Mrs. Muir's life in various ways while she seeks to get the upper hand and also falls in love with an Englishman, as played by George Sanders. This well-shot effort is slight but fine-looking, part of a way of similarly light and breezy supernatural films that came out in the late 1940s after the dark and devastating war days.

Amy Adler In the early 1900's England, Lucy (Gene Tierney) has upset her mother and sister in laws. Having lost her husband, Lucy informs them she is moving to the sea coast where she will raise her daughter (Natalie Wood) on a small income left to her. They are aghast, mostly because they realize they won't be able to control Lucy's life anymore. When the mother and daughter arrive in their new village, Lucy hunts for a rental house within her income. One, Gull Cottage, seems perfect but the real estate agent drags his feet. Lucy insists. Yet, shortly after the move in, the widow realizes why it was available. The house in haunted, you see, by a blustering sea captain, Daniel (Rex Harrison) who died in the place. Most folks think it was a suicide. Startled, Lucy soon displays her determination to stay put and Daniel can't do anything to change that. Over time, it becomes obvious that they are in love with each other. Yet, when Lucy loses her income, she may have to move unless the duo can come up with another plan. Also, a smooth gentleman becomes enamored with Lucy and she, very lonely, may decide to marry him, much to the Captain's dismay. What's an unusual couple to do? This very lovely story has imaginative elements and a match of wits that will charm everyone. Tierney and Harrison make a terrific couple. All of the supporting cast is fine, too. In addition, the scenery is wonderful and Gull Cottage makes everyone yearn to find their own abode by the sea. Alas, although I understand the ending and it turns out fine, I was hoping for a resolution that would come sooner in the film. Admittedly, I am most likely in the minority. Movie fans, you would do well to choose this classic love romantic movie at your earliest opportunity.

Python Hyena The Ghost and Mrs. Muir (1947): Dir: Joseph L. Mankiewicz / Cast: Gene Tierney, Rex Harrison, George Sanders, Natalie Wood, Edna Best: Sad romantic comedy about loneliness as widowed Mrs. Muir and her daughter move into a house at the seaside, against the wishes of her in-laws. The house is rumoured to be haunted by the ghost of a sailor but this only excites her. Her presence captivates the ghostly sea captain who forms a compromise. She will write his story and afford the house. Afterlife presented as depressing. Screenplay is sad but creative in structure and certainly inviting in introduction. Director Joseph L. Mankiewicz is aided by splendid locations particularly the ominous appeal of the house. Gene Tierney plays the vulnerable yet strong willed Mrs. Muir. Rex Harrison steals scenes as the foul sea captain whose stubborn actions are met with the opportunity to reveal his story. George Sanders plays a scheming author who attempts to romance Mrs. Muir. Natalie Wood is too brief as Mrs. Muir's daughter. She just seems to not be there and we barely notice. Edna Best plays the maid who pipes things up during key moments. Loneliness is a cancer but it doesn't have to consume as it does here. Unfortunately for a film advertized as a lighthearted comedy, this message does just the opposite and leaves viewers wondering what's the point. Score: 7 ½ / 10

kols Fell in love with Ghost as a pre-teen long ago and for many of the reasons cited by many of the favorable reviews here at IMDb. Just archived it to disc (hadn't seen it for years) and was a little shocked at how very, very good it is. Tierney and Harrison clicked, driving the movie, and every other aspect, from script to cinematography, was equal to their performances; a 'little' movie, like The Maltese Falcon and Casablanca, that is flawless.Reviewing to point out one aspect that stood out for me as a kid and still resonates today: Lucy Muir is written and performed as a strong, independent and unapologetically individualistic women. Particularly liked her use of the term 'Male conceit' in response to on of the few sexist remarks made by the Captain (he was actually expressing jealousy, not sexism). One of the last in a long line of such women just as Hollywood succumbed to the 50s.My childhood experience was limited to after school movies from the 30s and 40s so I can't say anything about the 20s but there were tons of 'little' movies from the 30s that featured similar characters, women who refused to buckle under to any kind of male domination whatever the cultural context.As a kid never ran into overt sexism and didn't pick up on any of the subtler versions extant so I interpreted those characters as individuals demanding to be recognized as individuals. In fact, wasn't til many years latter, well after college, that I did encounter bred-in, institutional and beaten-over-your-head-bloody sexism in, of all places, San Francisco. Yes, I was aware of the wage gap and glass ceilings and a few other general trappings, but had never seen any of them in action personally til I hit the city.So now I understood and came to value that sub-genre of little movies that much more. Unfortunately, can't remember any of the titles but do remember Betty Davis being in a lot of them. And that is the point of this review, the existence of a large body of these type of movies and the suggestion that they receive the attention they deserve.Ghost, itself, rises high above any particular genre. Tempting to pile on chapter and verse. Pick a scene, any scene, and wax poetic. It's like any you pick is worthy of a full film-school lecture.Especially one that stood out for me: the Captain's leave-taking; a long, slow, intimate parting, heartbreaking but vital. I've seen most of Harrison's films but never saw him equal it in any of them. Or come close.