A Place of One's Own

A PLACE OF ONE'S OWN is about Mr. And Mrs. Smedhurst (James Mason and Barbara Mullen) who move into an old mansion, only to find that it could be haunted by its former occupant.

Mrs. Smedhurst's companion, Annette (Margaret Lockwood) soon begins to exhibit odd behaviors, as well as talents that she never had before.

This all has to do with something that occurred in the past that won't stay buried.

If you enjoy tales of the supernatural, seasoned with mystery and suspense, then you should love this movie. The tension builds to a nice, shivery event near the end.

A very well-made ghost story...

I enjoyed this the latest addition to my Margaret Lockwood collection of films.It was filmed the same year,(1945) , that she produced her most famous role of the evil, beautiful, Lady Barbara Skelton in "The Wicked Lady".In "A Place of Our Own" she looks her dark, ravishing best in the "good" role of Annette, the lady companion to Mrs Smedhurst, (Barbara Mullen).

It is a pity that in the eyes of the general public "The Wicked Lady" has crowded out from their conscience her other "good" roles.Most notably, apart from this film, was "The Lady Vanishes" and "Bank Holiday" both from 1938 and "Girl in the News" and "Night Train to Munich" both from 1940 also "Love Story" (from 1944).James Mason for once puts aside his usual sophisticated and sadistic role (such as he played in "The Man in Grey"(1943) with Margaret, Stewart Grainger and Anna Neagle) and plays a sympathetic man twice his age at the time.He plays a plain speaking Yorshireman, Mr Smedhurst, who has spent his entire working life as a draper and now wishes to settle into retirement living in an old house the estate agent had difficulty selling.This role presumably caused James Mason no problems seeing as he was born in Huddersfield.("We're plain speaking folk up there").This is the third film where I've seen Margaret Lockwood "play" the piano well.For other films see "Love Story" and "Inspector Trent's Last Case" (1952).Was that devine music I heard a Chopin prelude? Being a period piece and ghostly it is quite interesting and held my attention to the end.I agree here with another reviewer, it could have been directed with slightly more tension and hence it has only a touch of Gothic suspense.I wonder what Hitchcock would have done with the direction but he was firmly established in Hollywood at the time.I gave it a rating of 6/10.

An old house, which has a terrible story behind it. Is taken over by an elderly couple, and the spirit of a murdered girl possesses the mistress's young companion from time to time. But it takes awhile for the occupants of the house to pick up on it, as they think that the strange happenings are caused by their staff and don't think too much of it. That's until they learn more about the tragic history of the house and come to accept that they share the estate with a depressed spirit.

RKO studios turn out a nicely made ghost story, which holds a certain amount of charm, and on show is a beautifully elegant production. Although saying that, it not terribly thick in depth. A lot of things are totally glazed over, with certain plot details being pushed aside or briskly concluded. Meaning it does lack tension in parts and the mystery of the house does get rather bogged down to be totally effective. It leans more towards drama/mystery and adds a romance story, than really showing anything horrifying or drumming up suspense. Although there's one scene that stands out from the rest towards the end… it's a neat twist to end it off with. But nonetheless it's a family drama with light touches of horror, where the awkward love sub-plot seems to make the ghost story play second fiddle to it. Which is too bad, as there's a mystery around every turn with the strange occurrences building up slowly from our mysterious ghost. I just wished it shared a bit more focus on it.

Overall, it's a polished effort with the house being the centrepiece, (sometimes you could easily tell it was small model) and the disquieting nature of the building fills the atmosphere. There's no real score other than for the thriving one in the intro and ending credits. Well, you got one of your characters playing the piano in the film. But I thought it benefited from not having one run throughout the film. The photography was rather outstanding, especially the moving angles throughout the house.

Bernard Knowles directs a simple, but yet slightly engrossing picture that has a solid plot (if rather slow going), with a tight script and exceptional performances from the likes of James Mason and Barbara Mullen.

Although it could have done with a larger dose of atmosphere, and much less comic relief and romance, this is still a highly engaging classic film, with a number of thrilling moments and interesting ideas to keep it moving along. James Mason is excellent, even if sometimes a bit over-the-top, convincingly playing a character twice his age in real life. The photography is quite magnificent, with glides and pans effectively distributed throughout. The characters are generally good too, and in fact, there is little to complain about with this production. Lockwood's performance does lack conviction though, but almost everything else is great in this film about life, death, superstitions and more.

I had always been interested in watching this well-regarded British ghost story – but was still pretty much blown away by it, being generally deemed too low-key for complete success. The film (the U.K. equivalent to THE UNINVITED [1944]) is notable for James Mason's playing of a character role much older than his 36 years; he's fine as always, but is matched by Barbara Mullen as his wife – and the whole proves a nice showcase, too, for the young Dennis Price as a doctor. The latter falls for and eventually treats Margaret Lockwood, Mullen's ingénue companion – who, on the old couple's inexpensive acquisition of a fashionable but notorious country-house, becomes possessed by the spirit of the latest female occupant (she had been ill-treated by both masters and servants and would die separated from her lover, another medic). Directed by a former cinematographer (his debut and unquestionably best effort), the period atmosphere is exceedingly well deployed throughout – thanks to Stephen Dade's probing camera-work and the elegant production design, particularly the mansion's interior. There are few genuine scares, yet the film generates some definite frissons along the way: Lockwood, a mediocre pianist at best, suddenly playing a piece faultlessly in front of guests; the girl's spontaneous quotation from a poem she readily admits to being unfamiliar with; and, especially, her close encounter with an unseen entity (woken up by the piano mysteriously playing at night, we hear its lid being violently shut when she enters the room, followed by the camera's swift panning – suggesting something had gone past her – and then hushed voices plotting murder in the hallway). Also worth mentioning in this regard, however, are the enigmatic 'orders' given to the old couple as well as the gardener (a surprising straight turn from comedian Will Hay's frequent sparring partner Moore Marriott) respectively requesting a certain doctor's presence and the unearthing of a locket (subsequently cleaned just as inexplicably). Eventually, the former lovers do get together one more time – the girl obviously in Lockwood's form and the medic now reduced to an old man (played by none other than Ernest Thesiger, whose entrance here towards the end of the film is almost as impressive as the one in BRIDE OF FRANKENSTEIN [1935]) – but, tellingly, the camera cuts away at this precise moment, as if we what they had to say was meant for their ears only!; following this, there is a twist involving Thesiger's character – which I actually predicted, but it certainly adds to the poignancy of the reunion. All in all, a little gem of a film displaying plenty of brooding style but also surprising warmth (not a feeling one usually associates with ghost stories).