I knew just enough about The Ghost and Mrs. Muir to not expect a good deal from it. However, I was curious to see Joseph L. Mankiewicz working again with Dragonwyck star Gene Tierney. Having low expectations left me open to the surprise of finding that this familiar story is far from trite, and sparkles with charm, intelligence and humour. In some ways, it reflects interestingly back on Dragonwyck. Most importantly, it creates a world that’s a pleasure to spend time in.
You probably know this story too, if not from the film, then from the 1960s sitcom of the same name. Widow Lucy Muir (Tierney) moves into a house by the sea, hoping to start a new life, only to find that the house is still occupied by the ghost of the former owner, sea captain Daniel Gregg (Rex Harrison). What develops is a love story with a lot of respect for plot pacing and character nuances.
Lucy is a complicated woman. She thought she loved her husband, but found she was mistaken, after their wedding. She’s now more interested in escaping her mother and sister-in-law than mourning him. She has a prim manner and yet also has a rebellious streak. Tierney seems well suited to the warmth and good humour of the character.
Gregg may seem like a caricature, being salty as he is. Harrison has enough charisma, however, that this becomes unimportant. His funniest moment may be when Lucy (who he insists on calling “Lucia”) starts crying and he barks at her, “Belay that!” The character is a fine foil for Lucy, as he has no regards for the respectable standards that she also (inwardly) balks at. She finds his outrageousness delightful, even if she wouldn’t always admit it.
The Ghost and Mrs. Muir has some visual similarities to Dragonwyck. They don’t share the same cinematographer; Charles Lang worked on the former, and Arthur C. Miller worked on the latter. While both had highly distinguished careers, I have to wonder if Mankiewicz had a strong influence on the look of both films. He’s generally more respected as a writer than as a director, but perhaps his visual style is underestimated by people who don’t look much further than films such as All About Eve and The Barefoot Contessa.
I praised Dragonwyck’s gothic atmosphere, and something similar can be seen again in a couple of scenes here. What I didn’t mention, however, is that Mankiewicz’s earlier film also sometimes had scenes in pleasant, open rooms; Gull Cottage looks much the same. The changing backdrops beyond the window in Lucy’s bedroom further open up the set.
Dragonwyck’s outdoor scenes were also quite striking, and here, the coastline beyond Lucy’s house is always a treat. The sheep-dotted hillsides are another resemblance to that earlier film.
On the whole, The Ghost and Mrs. Muir feels open and airy, and full of story possibilities. It’s no surprise, really that this story was adapted for TV. It seems at various points as though it could have gone in a number of directions. The addition of George “Memoirs of a Cad” Sanders as a potential suitor for Lucy is only one of them, though Sanders is not unwelcome. Neither is the quick passage of many years towards the end of the story, which is unexpected, but thoughtful and well-paced. If you’ve never seen this film and thought there probably isn’t much to it, take a look anyway; Mankiewicz, Tierney and Harrison may surprise and delight you.