The Ghosts of Berkeley Square

A very cute ghost comedy concerning 2 gentlemen officers of the 18th century. The men were trying hard to stop a war from starting when they accidentally killed themselves. At least the 2 men were good friends because they are now doomed to live in the Berkeley Square mansion until a reigning monarch visits, which is unlikely to happen anytime soon. It takes 200 years before they are released from their spiritual earth-bound state to move onward in the "afterlife".

It's a lighthearted comedy that would be fun to watch around the winter holidays - there is a quick Christmas scene. It's also a family friendly movie that makes it nice to view around the holidays.

7/10

Robert Morley and Felix Aylmar are a couple of high-ranking British officers in the reign of good Queen Anne, recently retired. They have bought a house together on Berkeley Square. When it turns out that Marlborough is in charge of the latest campaign, they realize he's going to lose the war. They rig up a contraption to kill him, but it backfires, killing them. They are condemned to haunt the place discreetly until reigning royalty visits -- there's always an escape hatch.

And so they haunt it, as it is occupied by gentry, and a bawd and her girls, and P. T. Barnum, who turns it into a haunted house exhibit. Will royalty ever visit, freeing them?

It's directed rather lugubriously by Vernon Sewell from Caryl Brahms' and S. J. Simons' comic novel, NO NIGHTINGALE. The two authors had met a couple of decades earlier, when Miss Brahms recruited him to help her write captions for a series of cartoons by David Low. Their first novel, A BULLET IN THE BALLET, arose from her fantasy of killing ballet critic Arnold Haskell. Several novels followed, including the one this is based on. She died in 1982, five days short of her 81st birthday.

S. J. Simon was born Simon Jacoblivitch Skidelsky in Harbin, Manchuria. In the 1930s and 1940s, he was a leading bridge player, co-inventing the Acol bidding system, and writing the funny and still valuable classic Why You Lose At Bridge. He died in 1948, aged 44.

Robert Morley and Felix Aylmer are a pair of Queen Anne era Colonel Blimps who have taken a nice house and live together. Thinking that the Duke of Marlborough is about to do something stupid they hatch a plot to kidnap him. But they blunder into their own trap and are killed.

The curse of Queen Anne falls on them. They are earthbound until a member of the royal house visits their dwelling. Otherwise they are a pretty lively pair and have all kinds of powers to use for their enjoyment and to get some royalty over to the place as the house passes through several different owners. A lot more than Marjorie Reynolds and Lou Costello had in The Time Of Their Lives which film bears some resemblance.

A bit of knowledge of British history helps in viewing this film. The ghosts are bound for over 300 years. And you won't believe what it takes to get a monarch to the place.

Very droll and witty a real treat for the ear that way.

I saw this film on TV in the late 1980's. Fortunately I recorded it on to VHS tape and have kept it. However I cannot play it now so have to comment by memory. I feel that this is film although rather lightweight in comparison to Will Hay's 'Oh Mr Porter!' it is still good clean comedy. I hope that it will be released on to DVD one day (along with other lesser known English comedy films).

Although over 50 years' old, this film's wit and imagination have not dated. Two retired 18th-century British army officers accidentally kill themselves and are required to haunt their house in London's Berkeley Square until visited by reigning royalty. All their attempts over the next two centuries to lure the British monarch to the house fail. During that time, their home is occupied by a succession of colourful tenants, including a house of ill repute, an Indian rajah with his harem, a World War I soldiers' hospital and a World War II officers' club.

Robert Morley and Felix Aylmer as the quintessentially British ghosts are excellent. Their characters' witty repartee and dogged determination form the backbone of the movie. The supporting cast is equally good, containing a broad range of England's best character actors of the 1940's.

The sets and costumes are imaginatively rendered and true to the various historic periods covered by the story. The varied and imaginative musical score greatly helps set the mood of each era. Much of the cinematography is remarkable; a single-take lengthy crane shot very early in the film is particularly impressive. This is probably the best movie made by director Vernon Sewell, whose long career encompassed very little distinctive work.

This entertaining and well-made film is worthy of re-discovery.