Casper

I don't view films as if I'm watching them as the intended audience; I watch them for myself. And that's why I found it odd at how engrossed I was when I watched this film for the first time at the age of eighteen. Aside from the great gothic flair of the mansion, two superbly placed cameos, and nice laughable black humour from the "trio," the film took off because of its emotional core. It's something that a youngster can really get into, but also anyone who finds it sad that a child can die. When Casper plays with his toys, I just wanted to start crying. This eternal child--lost and stuck in an age of mystery and wonder. And yet, he's smitten with a girl--he's starting to go through puberty. And it's just so sad . . . and beautiful.

And then there's the father, and his sway into the afterlife, his daughter's plight, her struggle with her wish to help Casper. It's all so simple and written for kids, but I was so engrossed by the romanticism of it all.

The villains mostly butt into the greatness of all of it, but you just have to grant that in a kid's picture. And now comes my but . . . in the end, when the mother does appear, she's supposed to be this amazing, angelic, deux es machinal, she floats through the stain glass window, her long hair flows around her, her gown flows all around her but--what the hell! why is her dress such a deep red!? she looks like satan! Oh well. Bad costume choice made a really bad moment. But mostly, I loved this film for it's good parts, despite the childishness of much of it.

The 1995 film Casper came in the wake of a number of high profile films based on older properties. Some, like The Addams Family, Maverick, and Flintstones managed to achieve impressive box office and/or critical praise while others such as The Beverly Hillbillies, Car 54, Where Are You?, or Richie Rich were met with derision and scorn from critics and audiences. Casper falls somewhere towards to the upper end of the spectrum making it better than Flintstones by a considerable margin, but not nearly as funny or memorable as The Addams Family. Casper, based on the Harvey Comics character turned star of Famous Studios' series of theatrical shorts, follows the titular friendly ghost as he deals with the schemes of heiress Carrigan Crittenden(played delightfully over the top by Cathy Moriarty), his brash abrasive uncles The Ghostly Trio, a grieving paranormal psychologist and his outsider daughter, and a whole host of shenanigans from either the living or the dead. Needless to say there's elements I'm leaving out because they're either resolved to quickly to be of merit or contribute nothing to the movie.

First the good. The performances are energized and give this movie the life it needs to justify itself. Regardless of the quality of the material, everyone here is bringing their A game be it Eric Idle as the put upon yes man, Bill Pullman as the quirky paranormal psychologist, Christina Ricci as the outsider daughter, and even Devon Sawa as Casper. Helping the performances is the amazing production design which helps create an incredible looking haunted house that feels almost like Disney's Haunted Mansion ride with more polish(though sometimes the film does feel a bit too much like a theme park ride in certain segments). The effects to create the ghosts are also quite impressive for the time, as they're designed very similarly to Jim Carrey's effects from The Mask with cartoonish exaggerations and elasticity that make them feel dynamic and alive(no pun intended).

The Negatives. The script has problems finding pacing and direction. There's no one single story pulling the characters from scene to scene, the instigating plot involving Carrigan looking for a secret Treasure takes up the first 10 minutes of the movie and then is brought back for maybe 12 minutes towards the end of the movie. Scenes just kind of go from one to the next as there's really no callback style jokes or running gags linking the comic set pieces together, nor are there really character building scenes as they feel like islands without much thought to placement in a larger narrative.

The movie is written by Sherri Stoner and Deanna Oliver, better known for their work on shows like Animaniacs and Tiny Toons Adventures and there's definitely a lot of their comic style on display with the Ghostly Trio who spout pop culture references and insults(with a surprising amount of hells and damns thrown in but that's honestly not much of a concern for me), but much of their comic scenes feel at odds with other scens that try to seriously address the nature of death and grief(including a very well staged scene where Casper looks over his sled remembering how he died) and the tone will whiplash from Snarky, to Zany, to serious sometimes within only a few seconds.

Casper is the kind of movie you wish were better than it is. There's clear talent on display be it the production design, the direction, the acting, and even the special effects, but it's unfortunately weighed down by a lack of focus and can feel like a scattershot imitator of Beetlejuice with its teeth filed down. It's got good moments, they just don't come together as well as they should.

There's something enormously touching about this film and the way it deals with losses -- Pullman's wife and Casper's mother, in particular. And what's so clever about it is how it uses them as a tool of audience manipulation AND has the evil ghosts use Pullman in exactly the same way that we're being used. This is a smartly written screenplay. The story itself is pretty conventional and predictable: the loner girl gets teased by a popular girl (that nobody really likes) who's out to destroy her; the popular girl has a cute boyfriend that the loner girl has the hots for, etc. etc., story will resolve itself with everyone falling in love with loner girl.

I can't quite understand why this movie has such a low rating. The only explanation I can think of is that people prefer emotionally "safe" movies like "Toy Story" (of the same year) that are equally brilliant technically (and have as many references), but don't sacrifice coolness by showing sentimental, sad emotion. It's possible that the movie got marketed incorrectly. The film isn't about spooks; like one of those early, wonderful Tim Burton fantasies (this film also shares with them an outstanding score), the film deals -- quite movingly, I think -- with regaining that lost sense of childhood: that moment where Casper tries to remember being alive is just wrenching. And the scene relates just as profoundly to us: just as he can't remember being alive, we can't, really, remember being kids. I was ten when I first saw this, and it had an effect on me then (Ricci's description of sunny side-up eggs making her gag subconsciously made me avoid anything less than hard boiled for ten years); this is something that I really cherish as being part of my young emotional and visual education, and it stands up today.

I haven't seen the director's other films, so I have no idea whether this whole thing was a fluke or whether everything just settled in to my particular sensibility, but even outside of the emotion I think the technical aspects, the giant basement set, are enough to keep interest. And even outside of that, the acting is terrific. Cathy Moriarty is an absolute riot. 7/10

One of many children Halloween movies . I'll recommend a ghostly comedy. Especially about a friendly ghost named CASPER and his three ghosts brothers Fatso, Stretch, Stinkie. This funniest laughter ghosts that knock your socks off. Also is a family movie night . The leading roles is well acted. Christina Ricci as her character Kate and Bill Pullman character Dr. James Harvey perfect actors. Well done.

I saw it first for Christina Ricci and, I admitt, I was seduced by her work.

I saw it as a beautiful and, for many reasons, useful film about friendship.

And the scene of dance of Casper and Kat remains the basic good point , with fairy tale sparkles.

A film for entire family, preserving a sort of very fair ingenuity, reminding small truths and defining , in smart manner, the lost of loved other.

Sure, a naif comedy.

But charming in profound sense, not less for gentle remind of the real needs of every from us.