I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

This story has more twists and turns than a second-rate soap opera.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

Not that it matters now or, for that matter, that anyone involved is still around to furnish an answer of sorts, but, having seen this recently on the fairly good Talking Pictures channel I wondered why anyone, in the last year of the war, would elect to make a ghost story- lite and/or would prevail upon James Mason to play a man twice his age or indeed why he would consent to do so - other, of course, than to show he could - and just what audience it was targeting. Gainsborough is a well remembered production company to those of a certain age and most of the credits here, both behind and in front of camera are up to snuff but still the question persists: Why?

Other comments have mentioned that this story of ghosts, possession and romance is slow. And it does have its longueurs. I don't know how much time is spent on establishing the fact that Lockwood, who is like a daughter to the elderly couple, Mason and Mullen, is possessed by the spirit of an invalid who died in the house forty years ago. It's wasted time. The film seems slow not because it's intrinsically dull but because it's too long. It might have made a perfect episode of "The Alfred Hitchcock Hour." James Mason is at his best being suave or moody. Here, he's crippled by an abundance of old-age make up and an attempt at some kind of exotic English dialect. He's a well-off, no-nonsense retired businessman who unwittingly buys a haunted house, and he harumphs around denying that anything strange is going on, even when something strange is going on. His more sensitive wife realizes something is up, but not until the end does Mason come around, and even then he opts for straightforward first-order change.As the possessed chief factotum, Margaret Lockwood is okay but looks a bit older and, more important, stronger than she did in "The Lady Vanishes." She's supposed to be wasting away, calling out for "Doctor Marsham", the doc who could have saved the life of the now-departed invalid. The problem is that Marsham moved away years ago and no one has any idea where he is, or if he's still alive. Her fiancé, the young and handsome doctor, Dennis Price, doesn't believe in ghosts and can do nothing to help her.At the end, the spectral Dr. Marsham shows up and gets the job done, but he's always in shadow and photographed from behind, so it's difficult to tell that he's the celebrated character actor, Ernest Thesinger, the mad scientist who had a penchant for shrinking kings and queens in "The Bride of Frankenstein." The tale takes place around the turn of the century, during the Boer War, and it's interesting to observe the details of a proper middle-class English country life -- the exchange of visiting cards, the lawn parties at which everyone is dressed up as if it were Easter Sunday. The cups of tea. The little glass of port after dinner.On the whole, if you liked, say, "The Uninvited" or the sentimental but amusing "The Ghost and Mrs. Muir," you'll probably enjoy this.

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).

The movie begins as an elderly couple close the deal on a beautiful house. That's one of the meanings of the title: The wife has always wanted a beautiful house of their own.But ah! Villagers very soon start talking: The couple got it at a good price because it is haunted and no one else has wanted to touch it.James Mason plays the old gent. He is made up and dressed to seem at least twice the age he was. The voice is recognizable, though. Even without knowing the cast in advance, I'd have known his voice. He does a good job, not overacting or hamming up the idea of playing old. (I don't think he in fact did age in this way, but who could have known?) Something about playing older characters fascinates actors. Robert Donat won an Oscar for it in "Good-bye, Mr. Chips." The first time I saw that movie, in a revival theater, I was knocked out by it. But I have to say that Mason overplays a little less than Donat, as far as playing an older man.Mason's wife engages a companion. In a way this is a plot device. We're never completely sure why she has done this. The companion is the lovely Margaret Lockwood. Soon she is saying things she doesn't understand and playing pieces she's never played before on the piano in the house.Beyond that I will not go. All this happens early in the movie.The smaller roles are beautifully cast. It has an elegant look. I wouldn't call it a great movie but it certainly held my interest.