Largely considered to be one of the best films to come out of Hollywood in the 1940’s, Joseph L. Mankiewicz’s The Ghost and Mrs. Muir still manages to be a deeply affecting love story more than sixty years after its initial theatrical release. The script based on a book by R.A. Dick (a pseudonym for a woman), is both sensitive and intelligent, while Mankiewicz’s is confident and even-handed, allowing the actors and the material to truly shine.

It’s 1900, and Lucy Muir (Gene Tierney) is a determined widow chafing under the strict confines of living with her late husband’s family. It’s been a year since her husband’s untimely death, and Lucy decides to take her young daughter Anna (Natalie Wood) and her maid, Martha (Edna Best) and start a new life. Tired of London, she decides to live in the seaside Gull Cottage despite warnings from the local realtor. Apparently, none of the previous renters have stayed in the house for more than one night. Even after seeing what just might be a ghost, the stubborn widow is determined to stay in the cottage she already regards as home.

Eventually, Lucy demands the ghost show itself. This leads to the first appearance of sea Captain Daniel Gregg (Rex Harrison), who seems to materialize out of the shadows of Gull Cottage’s country kitchen. Around town, everyone says the Captain committed suicide because the gas was on and the windows closed—one of his servants testified he always slept with the windows open. Of course it was a blasted accident! he rants. Though this is meant to be a bit salty—the way a seaman might talk—Harrison and Tierney have such a ‘proper English’ way about them, it never really sounds anything but correct.

As a tender romance of sorts develops between the two, with Lucy finding she can let her guard down a bit for the first time in years, and Daniel allowing Lucy to smooth out some of his rougher edges, Daniel offers her a job. He dictates his memoirs to her, which she turns into a massive best seller. The Ghost and Mrs. Muir depicts one of the oddest relationships in film history, but does so in such a tender way, you can’t help but buy in. Philip Dunne’s screenplay is effective and understated none more so than when George Sanders enters the scene as Miles Fairley, an author with eyes for Lucy. Daniel decides he must step aside, but Lucy soon learns that isn’t what he claims to be.

Both Tierney and Harrison’s performances are quietly compelling, and it comes as a bit of a surprise that neither actor was nominated for an Oscar. Visually, this is a stunning film, do it comes as no surprise that it did receive an Oscar nomination for Best Cinematography.

Presented in the 1.33:1 aspect ratio, Fox has provided a solid 1080p transfer. Black levels are spot on and contrast and edge delineation is pleasing. Detail is surprisingly strong, and there’s a slight grain to give the proceedings a filmic appearance.

The DTS-HD MA 5.1 track sounds contemporary without ruing any of the film’s original charm. Driven by dialogue and Bernard Herrmann’s wonderful score, the track offers a magnificent timbre and just enough bass at the low end. Dialogue is clean and clear throughout.

Additional audio options are an English DTS-HD MA 1.0 (I prefer the fuller 5.1), a Spanish Dolby Digital 1.0. English SDH, French, and Spanish subtitles are included.

The following extras are available:

  • Commentary by Greg Kimble and Christopher Husted: In this fascinating commentary, the two rely on their expertise in the music of Bernard Herrmann and visual effects.
  • Commentary by Jeanine Basinger and Kenneth Geist. Basinger is a film professor and Geist is a Mankiewicz biographer. These two provide information about the film and its principal cast and crew.
  • Original Theatrical Trailer (SD, 2:39).