The Ghost and Mrs. Muir ( 1947 )

"Haunted.....how perfectly fascinating!" 

Recently widowed Lucy Muir desires to start a new life. In pursuit of this, she has left her London lodgings, and her in-laws, to come to Whitecliff-by-the-sea with her daughter and loyal housemaid. There, situated atop a lovely coastal cliff, she finds her ideal home....Gull Cottage. It is up for rent.

"And priced at only 54 pounds per week. That's very inexpensive for a furnished house."

Strong-minded Lucy will not even let the thought of a ghost scare her away from Gull Cottage. The idea of returning to London and the life she led before is not a choice she wants to consider. Even the gruff and determined Captain Daniel Gregg - the apparition she comes to meet there one dark and stormy night - yields to her wish to remain at his beloved home.

He had been frightening away, with his boyish pranks, all prospective tenants to Gull Cottage for the last several years and the fact that Mrs. Muir chooses to stay in spite of knowing he haunts the house wins her his admiration. 

During their coming year together, a gentle love blossoms between this ghost of a roguish sea captain and the spirited Victorian widow. She comes to see Captain Gregg not only as a dear friend but as an anchor and a pillar of support. Their relationship deepens when Lucy – forced to earn money for payment of the cottage – pens the captain’s memoirs, “Blood and Swash”. However, when she meets the suave author Miles Fairley (George Sanders) while at the publishing house, the Captain realizes that his “Lucia” may be wanting the love, companionship, and reality of a mortal man.

"Real happiness is worth almost any risk…. but be careful me dear, there may be breakers ahead" 

Joseph Mankiewicz's wonderfully whimsical fantasy was released in theatres in 1947 to great commercial success. It was based on the novel, “The Ghost and Mrs. Muir" written two years earlier by author Josephine Leslie, who - like her character Lucy Muir - published her book under a much more masculine pseudonym...R.A. Dick.

20th Century Fox purchased the rights to the story shortly after its publication and selected Philip Dunne to rework it into a fitting screenplay for a feature film. Philip Dunne was a very talented screenwriter who had been nominated for an Academy Award in 1941 for How Green Was My Valley. He retained much of the essence of the book, and much of the plot, too - with the exception of eliminating the character of Mrs. Muir's son. 

What resulted from his penwork was a sweeping romance like none other of the era. The script, the actors, Mankiewicz’s direction, the breathtaking cinematography (by Charles Lang Jr.) and Bernard Herrman’s beautifully haunting score all combined to make The Ghost and Mrs. Muir one of the most enchanting, timeless, and delightful films ever made in Hollywood.

Rex Harrison is superb as our beloved sea captain – handsome, brawny, and blazed-eyed….a man in every sense of the word. While Gene Tierney is his perfect mate - beautiful, prim and respectable. What they both shared was the spirit of adventure in their souls.

"How you’d of loved the North Cape and the fjords and the midnight sun…to sail across the reef at Barbados where the blue waters turn to green….to the Falklands, where a southerly gale rips the whole sea white…..Oh, what we’ve missed Lucia! What we’ve both missed." 

The rest of this excellent cast includes George Sanders (playing his usual deliciously sly self), character actress Edna Best as Mrs. Muir’s right hand arm and dear companion Martha, little Natalie Wood as daughter Anna, English stage legend Isobel Elsom as Lucy’s mother-in-law,Robert Coote as the real-estate agent, Anna Lee as “the wife”, and Austrian actress Vanessa Brown as the grown-up Anna. 

While “flesh and blood”, Captain Gregg must have been a magnificent seaman and one can imagine the loyalty he inspired in his men aboard ship. Square shouldered, steadfast and weathered from his voyages, he was wise beyond his years, or as he described himself…

"I did not lead a very wise life but it was a full one and a grown-up one. You come to age very quickly through shipwreck and disaster and at the heart of the whirlpool some men find God."

Lucy Muir is quite an independent woman for the turn-of-the-century. Young, innocent and idealistic, she had married a man who had swept her off her feet, only to discover that he was not the romantic she had thought him to be. After his death, she wants to live a life of her own, free to make decisions without anyone warning her of society’s views on her actions. She finds her true self and her peace at Gull Cottage. And there amongst the splendor of the ocean she does not dream of her husband returning to life, but rather of a Gothic hero, a spirit like the Flying Dutchman, a man who worships her as much as the fairest lady he ever knew...the mighty Sea herself.

But is Captain Gregg a dream, or is he a man full of life and vigor just as much as Lucy? 

Years later, when Mrs. Muir’s hair is white and the driftwood by the beach battered and worn by the crashing tide, she still reflects upon her “dream” of the captain. In spite of being a very beautiful woman, she had chosen to live her days in the seclusion of Gull Cottage. We have the notion that men were not something Mrs. Muir ever pursued again. The ideal nature of the captain and the comradery they shared would be hard for any mere mortal man to duplicate.

Instead, all of Lucy’s real relationships are with other women….her maid being the only lasting friendship she has known. Her daughter has her own life to lead and as she grows older she becomes as remote as the rest of the world that Lucy has turned her back against. But loneliness is something our heroine never knows, for she feels content and secure in her memories and secretly lives in hope of something as real as what she was dreaming of all those years.

In the hands of another director, The Ghost and Mrs. Muir may have been a tragic story, a story of lost love and regret and of a woman living out an empty life of isolation. But instead, under the direction of Joseph Mankiewicz, it becomes a magnificent mystical romance. Gentle and warm and humorous, too. It is a tale of love transcending all boundaries.

Tomb Raider: The Treasure of the Snake King

Riding high from her fame as the fiery Scarlett O'Hara in Gone with the Wind and as Myra in 1940's romantic tearjerker Waterloo Bridge, English rose Vivien Leigh enthralled audiences in the role of fearless siren Lara Croft in Tomb Raider: The Treasure of the Snake King. 

Released by 20th Century Fox in November 1942, screenwriter Philip Dunne crafted an exciting adventure story that inspired Toby Gard to create Tomb Raider, which has since become the world's best-selling video game franchise.

In the beginning of the film, a noted archaeologist is being pursued by thugs in a small waterfront outpost in Mexico's Yucatan Peninsula. He runs into a general store/post office and hastily puts a 4" terra cotta figurine into a cardboard box and addresses the box to his friend and colleague, English archaeologist and aristocrat Lady Lara Croft ( Leigh ). Shortly after he hands the parcel to the clerk and runs out of the general store, the thugs chase him into a dark alley whereupon he is beaten up and thrown into the sea.

After the credits have appeared on screen, Lady Croft is seen riding bareback on her fair steed over the rolling hills of her family's sprawling estate. At unexpected moments, a shooting target pops up from around tree limbs and in odd corners that allow Lara to whip out her trusty pistols and take aim. While Lady Croft is a proper young lady indeed, she knows a thing or two about the fine art of marksmanship and her daily practice sessions have trained her to become an expert shot.

When her practice has ended, her butler hands her a parcel and recognizing the importance of the artifact inside of it, she contacts her historian friend Dr. Henry Carlton ( Ian Hunter ) and requests his help. The pair discuss the possible origin of the intricately designed figurine and conclude that it is an ornament that may provide a link to the legendary lost Mayan empire of the Snake kingdom, who not only possessed a magnificent treasure of gold and jewels, but the power to control time as well, by means of a "golden cobra" statue.

Henry and Lara take a transatlantic plane trip and meet danger when both of the pilots parachute out of the plane, leaving Henry and Lara to save the plane themselves from imminent disaster. Once they make it safely to Mexico, they hire Enrique Lopez ( Cesar Romero ) and his companion Jose ( J. Edward Bromberg ) to act as their guides into the remote jungle. 

Lara is visited by an attractive fortune teller named Carlita ( Maria Montez ) who seems to know a lot about the desires of the human heart, including Lara's determination to solve the mystery of her mother's disappearance. Carlita shows Lara another terra cotta figurine but, moments after Carlita leaves Lara's hotel room, she is attacked and Lara comes to her rescue. She fights the thugs and learns from one of them that they were sent by their "King" to stop Lara and Henry's jungle expedition.

As the team begins their journey in the deep jungle, David McMasters, a young explorer ( Richard Greene ) begs to join them in hopes that the discovery will provide him with a healthy paycheck to send his lady love Eloise ( Nan Grey ) back to England. 

They encounter monkeys, spiders, leopards, snakes, sickness, hidden passions and danger. Several members of their team run away, Henry nearly dies from a poisonous snake bite, and a fire almost consumes their entire camp! It becomes apparent that someone is going to great lengths to bring their expedition to an end. Eloise turns up unexpectedly and David, in a drunken fit, tells Eloise he is madly in love with Lara, which causes both women to get into a "cat fight", in which Lara wins.

The team finds a moss covered temple and the entrance to a dark tomb filled with gold, jade, and emeralds. A beautifully crafted frieze in the tomb provides definite evidence to the existence of the Snake kingdom, which was later taken over by the Mayan warriors. Lara solves a puzzle hidden in the frieze that says she must use a jade-encrusted mask as a guide to locate the underwater tomb which houses the glimmering golden cobra statue. 

Lara and the team face numerous obstacles in their quest to reach the golden cobra, including several lethal traps and a near cave-in! Lara hopes that the golden statue will allow her to go back in time just enough so that she can "see" what happened to her mother before she disappeared when Lara was a child. This natural desire does not come to pass, for it is when Henry takes hold of the ruby-eyed cobra, that his true nature comes to light. He is, in fact, the evil "King" behind the attacks and sabotage that have plagued the expedition from the start. He wants to possess the cobra's power to control time, so that he could go back in time and be like one of the kings when the Snakes were in power. This surprise turn of events shocks Lara and the others, but Lara knows she must stop Henry and his henchmen ( who are disguised as native guides ) at all costs. 

The overwhelming power of the golden cobra engulfs Henry and the earth beneath his feet gives way sucking him and his henchmen into a time warp never to be seen by modern man again. The intense eruption causes the submerged tomb to quake violently. Lara and David are badly hurt, but they and Eloise just manage to escape the underwater tomb before it collapses beneath the sea.

We learn that Henry's plan was to use Lara's superior knowledge of ancient history to help him find the location of the tomb of the golden cobra for his own wicked ambitions. He sabotaged the expedition merely to make the team believe that an outside force was against their mission, and not him. 

As the film concludes, Lara lets David take full credit for finding the artifacts the team found in the temple and they agree to give them to the museum in Merida with Enrique as the museum's new curator. David and Eloise make plans to return to England and Enrique and Carlita have formed a romantic attachment during the expedition. 

Vivien Leigh gave a wonderful performance of Lara Croft. She is smart, sassy, and courageous ( like Scarlett O'Hara ), but a bit of a tomboy. Richard Greene's David is brave and handsome and eager for adventure. Since the film appealed mostly to teenage boys and girls, Greene proved to be a role model for the boys in the audience while teenage girls found themselves swooning over this attractive Englishman. Considering the film's marquee names, Cesar Romero steals the show as Enrique with his trademark smile and carefree bravado. Ole!

Tomb Raider: The Treasure of the Snake King could have benefitted from better set design, instead settling for old stock footage and mediocre jungle sets created on the studio lot. It received moderate reviews from credits when it was released in theaters. The film was not a commercial success, but it allowed director Norman Foster ( who went on to make Journey into Fear and Rachel and the Stranger ), screenwriter Philip Dunne, and its cast to dabble in a project that was a bit ahead of its time. 

The character of Lara Croft and her incredible escapades would not gain popularity until young game designer Gard and his talented team debuted their highly-anticipated video game in 1996. New games were developed annually until 1999 along with several reincarnations with the release of Rise of the Tomb Raider in 2015. American actress Angelina Jolie brought Lara Croft to the screen in two thrilling films, Lara Croft: Tomb Raider ( 2001 ) and Lara Croft Tomb Raider: The Cradle of Life ( 2003 ), which featured location scenes shot in exotic foreign countries and the usage of modern computer special effects. 

Lara Croft remains a much-loved heroine in the gaming world and her next motion picture appearance is slated for March 2018 with actress Alicia Vikander in the coveted role of the one of the world's most talented and gutsy archaeologists, Lady Lara Croft. A role originally introduced by the lovely Vivien Leigh almost 75 years ago...

This fictional review is my ( Diana ) contribution to The Great Imaginary Film Blogathon, being hosted by yours truly, Silver Scenes. To read more articles about "imaginary" films, be sure to check out the Master List here! 

The Luck of the Irish ( 1948 )

"You don't always wait for an invitation to follow the brave music of a distant drum"

It's not often when a man is clever enough and quick enough to capture a leprechaun. While travelling in Ireland, Steven Fitzgerald (Tyrone Power) does just that and then, having done so, lets the leprechaun free...without claiming his pot of gold! 

'Tis a rare man indeed who would do such a thing, and the leprechaun knows it. He feels a debt of gratitude to this American and, leaving the comfort of his homeland and his secluded waterfall, he follows him into the "cold, inhospitable city" of New York to serve him and to help him realize his heart's desire. 

"You are a proud, free man, and it is for that reason that I am proud to serve you"

Fitzgerald is a news reporter who believes in writing the truth to the public, but the lure of acquiring wealth by working for power-hungry publisher-turned-politician Augur (Lee J. Cobb) proves to be irresistible, even if it costs him his integrity as a free-thinking man. Egging him on in his decision to accept this position is Augur's daughter (Jayne Meadows), a woman who wants to be by Fitzgerald's side as he climbs the ladder of success, no matter what it takes. 

The Luck of the Irish is a dramatic fantasy filled with many whimsical moments. It does not have the sugary sweetness of a children's fable, making it all the more satisfying. Instead it has a lasting charm which makes it ideal for annual viewing on St. Patrick's Day, or any time of the year for that matter. 

The first half of the film parallels Michael Powell's I Know Where I'm Going (1945) in that we see a city dweller stranded in a small village, anxious to escape on the next boat available and frustrated with the local people's slow and inefficient ways. It is not until the opportunity to escape becomes available that these characters begin to have doubts on whether they truly want to leave. In both films, it is the romance they find in these villages which make the characters wish to remain, not the lure of the tranquil community. 

In The Luck of the Irish, Fitzgerald meets and falls in love with Nora (Anne Baxter), a quiet innkeeper's daughter, and upon his return to New York he sees her once again, by chance, on a subway. He has a notion that the leprechaun may have had a hand in bringing her to New York but he struggles to relinquish his dream of wealth in place of returning to Ireland with Nora.  

"You brought Nora here, didn't you?" 
"No, you brought her yourself...in your mind, long ago."

Steven Fitzgerald is an ageless character - working men are forever torn between following the dreams of their heart or selling out their ideals (and sometimes their morals) to other men for the sake of financial stability. He is a cynical man and does not easily get himself beguiled into believing in leprechauns or other folklore but, in this situation, his belief becomes his blessing. 

The Luck of the Irish is not your traditional fairy-tale story and the irascible leprechaun with his proverbial pot of gold is not portrayed as a cultural image but instead becomes the incarnation of Fitzgerald's conscious and a vehicle of divine influence in changing his circumstances. The moral of film is summed up in its tagline "Choosing good is the real pot of gold". 

"I offered you gold. 'Tis not my fault that you prefer a pebble"

The Luck of the Irish premiered on September 14, 1948, and for its original showing featured a wee bit o' something green - all of the Ireland sequences were tinted the color of the Irish landscape itself. Indeed, the opening sequences of Ireland are so pleasant that it is a shame when, midway through the film, its focus shifts to New York City. 

A roster of 20th Century Fox's regular talents gathered together to make this a stand-out picture: director Henry Koster, who was an old hand at filming humorous dramas; Lyle Wheeler, Fox's resident art director extraordinaire; Philip Dunne, who hammered out on his magical typewriter this whale of a grand adaptation (from the novel by Guy and Constance Jones); and producer Fred Kohler, who had footed the bill one year prior for that other excellent romantic-fantasy The Ghost and Mrs. Muir. The strains of traditional Irish and English melodies can be heard in the background thanks to the musical wizardry of Cyril Mockridge.

Cecil Kellaway steals the film with his performance of "Horace", the leprechaun turned manservant, and he nails the Irish accent and mannerisms of one of the little people. He was nominated for an Academy Award for Best Supporting Actor for his portrayal. James Todd also co-starred as Fitzgerald's wise-cracking pal Bill Clark, and J.M. Kerrigan and Phil Brown round out the stellar cast. 

Anne Baxter is particularly fetching and these years were certainly the peak of her career. The brightness of Tyrone Power's star had been waning a few years prior to The Luck of the Irish and he must have sensed that his days of being the studio's No. 1 glamour boy were nearly over, even though he was as handsome as ever. Jayne Meadows related a story about this in the special "Jayne Meadows Remembers" included on the DVD: 

"[in-between takes during the banquet scene] he said, 'You see that tall man over there, the one with the grey hair? He was a star once. A very big star. Sad...now he is an extra'. And I said 'Isn't it wonderful that he's still working' because, you know, the man looked like he needed something to hold him up. When I later found out that Ty started as an extra, I thought 'isn't it interesting that his first reaction was to the old man who was a star and is now an extra.' " 

Perhaps Tyrone Power felt that eventually this would be his fate as well.

This post is our contribution to The Luck of the Irish Blog o'thon, being hosted by yours truly. To check out all of the grand posts about Irish actors and films, click here. 

Screenwriter - Philip Dunne

Certain names, when rolling on the credits, are guarantees that you are in for a good film. Philip Dunne is one of those names. He was one of the most prolific writers at 20th Century Fox during the heydey when Darryl F. Zanuck headed the studio, writing the scripts to films such as How Green Was My Valley, The Ghost and Mrs. Muir, David and Bathsheba and The Robe. 

Philip Dunne started working at Fox studios in 1930 as a script reader but when they fired him, during one of their recurring financial crises, he obtained a job at MGM where he worked on his first script, The Student Tour. Although the script was very bad, according to Dunne's own opinion, it led him to becoming a junior writer for Jesse L. Lasky, an independent producer at Fox. Here, he collaborated with Rowland Lee on an original script for a film called I Am Suzanne and on the swashbuckler The Count of Monte Cristo ( 1934 ) starring Robert Donat. The New York Times praised the script and its high fidelity to Dumas dialogue, remarking that it was amazing how well his words had survived in lucidity and grandeur through over a century. In truth, only seven words of dialogue were from Dumas' own writing! Philip Dunne had not even read the book prior to writing the script. 

Later, Dunne attributed the success he achieved in his career as a screenwriter to Rowland Lee. After contributing work on several screenplays for Jesse L. Lasky ( Helldorado, Under Pressure, Magnificent Obsession, The Last of the Mohicans ), Dunne received a telegram in 1935 announcing that he had received a long-term contract from Darryl F. Zanuck to work at 20th Century Fox studios. He remained there for twenty-five years. 

Angharad: 

Look now, you are king in the chapel. But I will be queen in my own kitchen. 

Mr. Gruffydd 

You will be queen wherever you walk.

Angharad 

What does that mean? 

Mr. Gruffydd 

I should not have said it. 

Angharad 

Why?

Mr. Gruffydd 

I have no right to speak to you so. [he starts to leave]

Angharad 

Mr. Gruffydd, if the right is mine to give, you have it. 

The 1940s were Dunne's golden decade, an era when he wrote a number of extremely fine scripts for some of the best films to come out of 20th Century Fox. It all began with Stanley and Livingstone, released during that prime year in Hollywood - 1939. This film established Dunne as an excellent screenwriter at the studio and led him to many other fine projects, such as The Rains Came ( based on Louis Bromfield's bestseller ), and Johnny Apollo. In late 1940, Zanuck handed Dunne the novel "How Green Was My Valley" and asked him to write an epic script for an epic film. How Green Was My Valley was going to be 20th Century Fox's answer to Gone with the Wind. Twelve weeks later, when Dunne submitted his four-hour long script, as promised, he was told that it was "twice too long". Along with director William Wyler, Dunne worked to cut the script to a manageable length, but couldn't find out how until Roddy MacDowall was selected as the leading character, Huew. He was such a delightful child that Dunne and Wyler decided to eliminate their original idea of having Huew grow to manhood mid-way through the film ( Tyrone Power was supposed to have played Huew as a man ). 

How Green Was My Valley earned ten Academy Award nominations, winning in the best picture, best director, best supporting actor, best cinematography and best art direction categories. Here Comes Mr. Jordan snagged the Best Writing, Screenplay award, which left Dunne disappointed. Nevertheless, he bounced back quickly and began work on Son of Fury: The Story of Benjamin Blake ( 1942 ) starring Tyrone Power. 

The Late George Apley ( 1947 ) was another one of Dunne's witty screen adaptations. John P. Marquard, author of the novel, once told Dunne that he preferred his screenplay to the George S. Kaufman stage adaptation. The production was a happy one; it was a great success at its premiere at Radio City Music Hall and the New York Times gave it rave reviews, but alas, outside of the East, it did not fare well at the box-office. Nevertheless, since the production team enjoyed each other's company so much, director Joseph L. Mankiewicz, producer Fred Kohlmar and Dunne reunited to bring another best-selling novel to the screen - the delightful The Ghost and Mrs. Muir. 

Dunne spent seven weeks in the desert splendor of Palm Springs working on the script and, even though he did not have to alter the book's dialogue very much, created a highly entertaining fantasy which, once again, only fared moderately upon its release. However, since then, it has become one of 20th Century Fox's most endearing films, and as Dunne said in his autobiography "I am asked more questions about The Ghost and Mrs. Muir than about any other picture of mine except How Green Was My Valley"

Captain Gregg: 

[discussing Mr. Fairley] And the way he was smirking at you, like a cat in the fishmonger's! You should have slapped his face!

Lucy Muir: 

Why? I found him... rather charming.

Captain Gregg: 

"Rather charming" Now you're starting to talk like him!

Lucy Muir: 

How in blazes do you want me to talk?!

Captain Gregg: 

That's better!

In the 1950s, Dunne, his wife Amanda and their three daughters, moved to a Malibu beach house built to suit. It would remain their home for the next 40 years and become a social and political hotspot for Hollywood liberals throughout the next decade. Dunne was active in politics ever since he arrived in Los Angeles in the early 1930s. During World War II he headed the Motion Picture Bureau of the Office of War Information, helped form the Committee for the First Amendment ( along with William Wyler and John Huston ) and was also one of the founders of the American Screen Writers Guild. 

Biblical films were all the rage in the 1950s and it was work on one of these ( David and Bathsheba ) that earned Dunne his second Academy Award nomination. David and Bathsheba proved to be a box-office success and the big brass at Fox, not one to turn their heads to a profit-making venture, decided to plunge the studios talents into another dramatic biblical adaptation - The Robe. This film, starring Richard Burton and Jean Simmons and featuring the talented writing of Dunne, became an even greater success than David and Bathsheba, grossing over $36,000,000 upon its release. 

Quickly following on its heels was a sequel, again penned by Dunne, entitled Demitrius and the Gladiators ( 1954 ). An entertaining - but lesser known - film about an Egyptian doctor during the eighteenth dynasty of Egypt, The Egyptian ( 1954 ), was Dunne's final screen assignment before he ventured into becoming both a screenwriter and director. 

One of his first films, The View from Pompey's Head, was a lovely little melodrama, dripping with soap and starring some mighty pretty folk such as Dana Wynter and Richard Egan. Dunne must of enjoyed being in control of the filming of the scripts that he penned, for he directed ten more films in the next ten years, including Ten North Frederick, Blue Denim, In Love and War, Wild in the Country and Lisa. 

His final film, Blindfold ( 1965 ) gave him the cue that it was time to end his directing career. Talented as he was, his pencil was indeed sharper than his camera eye. During the 1970s and 1980s, Dunne quit the entertainment industry entirely and concentrated on writing as a syndicated columnist and essayist for the Los Angeles Times and Time magazine. He also worked on his memoirs, Take Two: A Life in Movies and Politics, which much of this article was based upon. 

Philip Dunne passed away on June 2, 1992 at the age of 84....but like most writers, his words will never pass on, always being revived on the screen with each subsequent viewing of his films.

You must make your own life amoungst the living and, whether you meet fair winds or foul, find your own way to harbor in the end. 
( The Ghost and Mrs. Muir )