Es blieb etwas zurück

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.

Although the house is haunted and the young girl is possessed you will not find this film horror nor is it a comedy-horror - this film is a drama, mystery and a thriller - and quite a good one too.

This is not your modern day possession/haunted house film - if you want that then look elsewhere - you won't see pea soup flying and heads spinning. This one is a love story of sorts (and not like "Ghost" with Patrick Swayze). This is a very tastefully made film and quite different than most ghost stories I've ever seen.

I really enjoyed this one for it's great atmosphere - haunting a times. The cast is good too. I personally did not have a problem with the cinematography nor the directing (I read where James Mason was displeased with the end results of this film although he wanted to do this film).

8/10

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).

James Mason and Barbara Mullen have "A Place of One's Own" in this 1945 film also starring Margaret Lockwood and Dennis Price. The only problem is, someone else owns it, too - the ghost of the former owner, which Mr. and Mrs. Smedhurst (Mason and Mullen) discover when they move in. When they hire a companion for Mrs. Smedhurst, the beautiful Annette, things become very strange indeed. The more they learn about the former owner, the stranger it gets.

Mason for some reason, at the age of about 36, plays an elderly man; Barbara Mullen was a little older, but not by much. I immediately thought the story would be told in flashback, with Mason playing a younger man, but no. He does an excellent job. He has the walk and the voice of an old man. Lockwood creates a wonderful character, very sweet and genuine. She had a very wide range as an actress, as she proved in one of her best roles,in Wicked Lady, and years later, in Cast a Dark Shadow.

"A Place of One's Own" is slow and, for this writer anyway, totally predictable. If I had seen it in 1945, I might have felt differently. Despite good performances, it didn't really hold my attention. If you're not familiar with this genre, you will undoubtedly enjoy it more than I did. I came away feeling it was just okay.