The Ghost Goes West

One of my all-time favourite British films, this was my 9th viewing and I still think it's marvellous. Frenchman Rene Clair's prints are all over it, a 1930's British film with so much subtlety, wistfulness and originality was ... unique!

Hard up castle owner sells it to American who de-bricks it off to Florida - along with owners' ghostly ancestor. Eugene Palette who only bettered this performance with My Man Godfrey was outstanding throughout, Jean Parker's character as his daughter was a wee bit wishy-washy but she was lovely to look at, and Robert Donat was, as usual, nearly perfect. At this point I have been ordered by my 25 year old daughter to say how gorgeously beautiful he looked - he was a handsome devil to be sure, and you get two for the price of one in GGW. I wonder what kind of films he'd be making nowadays - surely there'd be no character role nice enough! He was so nice in this I even forgive him his Scottish accent lapsing occasionally. There are a few non-laboured sociological points in it too: The generalised commercialism of America, whether crass or not is repeatedly displayed, my favourite bit being Palette's announcement at dinner of the band marching down the stairs playing "traditional Scottish music"!

Not that it matters of course but does anyone know the answer to What's the difference between a thistle in the heather and a kiss in the dark?!

It would be a poorer film without the lush and swelling background music to accompany Murdoch/Donald and Peggy smooching away up on the castle ramparts at night. The atmosphere created in these scenes by the orchestra's romantic strings plus the gleaming and haunting nitrate photography plus the clever and mysterious lighting is literally Out Of This World, and always leaves a deep impression on me. This is one of the few films where watching and therefore listening to the end credits is essential, for the romantically melancholy fade out. If your TV station has butchered those last 5 seconds, complain!

Scotsman Murdoch Glourie (Robert Donat) dies a coward in a battle with the rival MacLaggan clan. Murdoch is forced to haunt the family castle until he can get a MacLaggan to admit that one Glourie is worth fifty MacLaggans. Two hundred years later, his descendant Donald Glourie (also played by Donat) has to sell the castle to pay off debts. Pretty American Peggie Martin (Jean Parker) convinces her wealthy father to buy the castle and ship it, stone by stone, to the U.S.

Enjoyable British romantic comedy with a good cast and pleasant tone. Robert Donat shines in dual roles. Jean Parker is adorable and likable. Eugene Palette is always a treat. The rest of the cast is mostly made up of Brits and are fun to watch. While I do like it, I admit it drags some in the middle after a strong start. It finishes nicely though.

In the midst of the "screwball comedy" fad in 30's Hollywood comes a British comedy of a different stripe. "The Ghost Goes West" is subtler than American audiences of the 30's were becoming used to and probably did not register with them as a result. It's a gentle comedy that grows on you, with hints of humor that warms rather than overpowers.

It stars one of the best, Robert Donat, who left us too soon. He was fresh off his success in "The Thirty-Nine Steps" and is seen here in a dual role as Donald Glourie, pennyless heir to Glourie Castle, and as his ancestor, Murdoch Glourie, a womanizer and not the warrior his father wanted. He is ably supported by lovely Jean Parker, and by Eugene Palette as her father and new owner of the castle.

It is well worth your time as an interesting and rewarding example of a different type of humor than we have become used to on this side of the Atlantic.

"The Ghost Goes West" is Robert Donat's only and best romantic comedy. Mr. Donat only made nineteen movies - they were dramas or light dramas. This movie is hysterical. It helps to have Eugene Pallette play the father of the girl (Jean Parker) that Donat's character loves. Mr. Donat plays two roles - Murdock Glourie (the ghost) and Donald Glourie (the current proprietor of the Scottish castle).

This was Eugene Pallette's first great speaking role. The other great roles he played were in: "My Man Godfrey", "Robin Hood", "Zorro", "Mr. Smith Goes To Washington", "The Lady Eve", and "Heaven Can Wait."

It is fun to watch the unknown cast - most of them did not continue working in the 1940's and so on. Only Donat, Parker, and Pallette were lucky to continue working. Ms. Parker is still alive and living comfortably at the Motion Picture Country Home in Woodland Hills, CA.

Have to say I'm mightily surprised to see some users here state this film is purely escapist entertainment, nothing more, nothing less. Since it ignites its comedy heart with a satirical flame, I do feel that the jovial nature of the beast has meant that the tongue in cheek nature of René Clair's first English speaking picture has been missed by some.

Murdoch Glourie {Robert Donat} is head of the Glourie clan, during a vociferous argument with the laird of the Maclaggen clan, he is so furious about the besmirching of his family name, he pegs out and dies before correcting the unjust smear on the family name. Switch to the modern day and his descendant Donald {Donat again} is frantically trying to keep the monolithic Glourie castle from collapsing under the weight of financial pressure. Hope springs in the form of love, and the beautiful Peggy Martin {Jean Parker}, but with her comes her ebullient father Joe {Eugene Palette}, and his intention to relocate the castle to Florida. Now this is something that Murdoch's ghost is particularly not happy about, and he promptly sets about haunting everyone in sight whilst the selling point fervour of a Ghost coming to America brings about mirth and intriguing problems.

Yes this film is a fantastical light hearted comedy, but its portrayal of American habits is satirical genius, covering materialistic urges and prodding the ribs of the press, The Ghost Goes West is a truly classic film in the Preston Sturges 1940s mould. What else can you think when you see a press headline stating "Kilted Scottish Phantom Fails To Show"? René Clair was annoyed by the interference from producer Alexander Korda, to the point he thought about taking his name off the credits, he didn't have to worry tho, because the film is still his, and crucially, American audiences took it firmly on the chin and embraced the picture for the delightful nudge nudge romp it is. 8/10