A Morta Apaixonada

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).

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.

I just loved this movie. It kept my interest in a most peculiar way, and it took me nearly to the end of the picture before I figured it out. None of the key scenes were ever emphasized with dramatic music swelling up, down, or out....anywhere. In fact, it did not have any music except for the piano playing in one scene. Most unusual. This movie came across almost as "play-like", without the typical "movie" accents. Very different, very good. The only drawback, if you can really call it that, was the distraction of James Mason made up to be a man much older than his original years when he made this. The make up artist utilized a lot of "spirit-gum" that was used around his face, and unfortunately, it is noticeable in many scenes. But don't let that deter you from seeing this wonderful film!

I should caution anyone that may be slightly impatient that you'll have to stick with this one for awhile before the story kicks into gear. Over the course of the first forty minutes or so it's a story focused on two elderly people and their young helper who meets a boy she falls in love with. This is all enjoyable enough, if a bit dull, depending on one's tolerance for such stories in older films. There's a sprinkling of mysterious goings-on building to what's to come later, but just a sprinkling. This isn't to discourage anyone from trying the movie. I just want to prepare you to view this when you aren't watching a clock. The pace does pick up midway through and here's where the mystery elements of the film really come into play.

All of the actors are good, particularly Margaret Lockwood. As others have pointed out, James Mason and Barbara Mullen are playing characters twice their age for some inexplicable reason. But they do well, with the usual "old people are kind and sweet and amusingly cantankerous" trope that permeated movies of the time. Ernest Thesiger has what amounts to a brief cameo (where he's dubbed, oddly). The role is important to the plot but given how little of his face you see, the part really could have been played by anybody. One more note: this is in no way a scary film. Some of the characters in the story may become frightened or bewildered but to the audience this is more of a mystery film with some supernatural overtones. This is worth pointing out for those expecting something akin to The Innocents or The Haunting. Still, it's a good but not great mystery film with some nice heart-warming humor and sentimentalism. Added points if you like British films of the period where everyone speaks and acts quite properly, except for the servants who add touches of color and comedy relief.