Tied for the best movie I have ever seen

It's no definitive masterpiece but it's damn close.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

THE GHOST GOES WEST is one of those genteel supernatural comedies that Hollywood and Britain were so fond of making back in the day. A lot of its charm comes from the presence of Robert Donat in the cast, playing a friendly ghost who finds himself transported to Florida when his ancestral Scottish castle is literally shipped, brick by brick, to America. Dated shenanigans ensue in this quiet character piece, with an emphasis on character comedy and amusingly offbeat hijinks. Donat is a delight and matched by the equally delightful Elsa Lanchester who has a moderately large role.

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.

i saw this korda classic, as many, on KTLA's late-nite 'public-domain-so-it's-free' broadcasts---i had never seen a korda comedy, let alone this rarity---yet i was instantly captured by this comedic jewel. other reviewers have covered the plot well---so i will be brief---expect hilarious 'juxtaposition' transitions---heart-wrenching romantic scenes---and camera work simply not seen, since the '30's--- breath-taking at times---this was obviously part of a korda series, yet i've seen no other. not to be missed by '30's, or any romantic-comedy fan.whether it's depiction of the 'soon-to-be-ghost', who haplessly subscribes to 'make-love-not-war', or the stunning scene of lovers, trying to understand one another, each on the other side of the glass windows, this film is simply full of both the tasteful treatment of love, outrageously surprising 'gut-laugh' footage---once seen---never forgotten.

Robert Donat was capable of being a humorous actor - in THE THIRTY NINE STEPS he does the impromptu campaign speech for a man he knows nothing about, introducing the character as "McCrockodile" because he can't see the man's name upside down, and then recouping his error by saying that is the candidate's nickname in Parliamentary circles. In THE ADVENTURES OF TARTU he plays an overly eccentric Iron Guardist (Roumanian fascist) in Nazi Germany, who annoys his hosts by his antics. But in his film career most of his films were serious ones. He was a great serious actor and his fans (who exist to this day) are not upset that he rarely was frivolous. Ironically his one chance to demonstrate comedy (outside the current movie I am reviewing) was never shot with him due to his asthmatic condition: he was supposed to play Will Mossop in HOBSON'S CHOICE, opposite his old film associate Charles Laughton, but instead his role was played by John Mills.THE GHOST GOES WILD is about a family ghost that has to redeem himself over 190 years after he disgraced his family. Murdoch Glourie (on the surface) resembles James Durie in THE MASTER OF BALLENTRAE. He is a carefree son of a laird (Morton Selden - known as "the Glourie") who is usually romancing the local girls more than making his father proud. The difference, of course, is that James Durie is far more cynical and selfish in the Stevenson story than poor Murdoch. It is 1746, and the Glourie (like all good highlanders) has gone out to support Bonnie Prince Charlie. He calls for his son Murdoch to likewise come, and do his duty. Murdoch is not too thrilled about this, but actually does show up (unlike James Durie, who pretended to show up). He tries to be martial and brave, but the sons of a rival highland chief humiliate him, and in running away to hide, poor Murdoch gets blown up. Before his father dies of a broken heart, he puts a curse on the spirit of his son. Later we hear that the spirit of the father has partly forgiven the ghost of Murdoch, but he insists that Murdoch will ne'er find true peace until he demonstrates his real spirit, and humiliates the descendants of the rival laird.Generations pass, and the current owner of the castle is Donald Glourie. He is not a rich laird (as his family supported the losing side in 1746 they are lucky they were left with the pittance of their estate that they still have). However, the castle attracts the attention of wealthy American Mr. Martin (Eugene Palette), who is interested in buying it and moving it to America. Donald is willing but he has to tell Murdoch, who is the resident ghost. Murdoch is not too happy, although (like Donald) he is attracted to Peggy Martin (Jean Parker), the daughter of the new owner.The film shows how the castle is taken apart and moved to the Florida estate of Mr. Martin, exciting the envy of a rival millionaire Ed Bigelow (Ralph Bunker). Bigelow is determined to wreck the happiness and boasting of Martin about his owning the castle (with it's own ghost) and of his daughter's impending marriage to Donald. And in setting up the planned debunking of the story of the ghost in the castle, Bigelow unwittingly sets up the situation for Murdoch's own redemption.The film is quite amusing, especially as Murdoch discovers that 20th Century America is quite as frightening to him as the Highland army camp of 1746. But he does try to overcome his fears - and in the conclusion definitely succeeds just when it is needed.The story does bear comparison to Oscar Wilde's THE CANTERVILLE GHOST, with a coward who is cursed by his father but redeems himself at the end. The performances of Donat, Palette, Selden (splendid as ever), Parker, and Bunker are all quite good: Donat, in particular, playing two roles - one a fantastic type of character - with their own differences in personality and viewpoints (Donald being more willing to consider the positive side of the castle sale than poor tradition bound Murdoch). The parts of the film work quite well together, fantasy balancing nicely with modern satire on oneupmanship and social prestige.How true was this type of thing? Well, one finds it was true. If you visit William Randolph Hearst's San Simeon in California, you will be told of how portions of castles were purchased by Hearst in his European travels and used in building his American palace. Other millionaires did the same thing. It was conspicuous consumption, but given the damage to castles and palaces in Europe in two world wars, such spending habits actually were beneficial for preserving these structures. Whether actual ghosts were brought over too I could not say one way or another.