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The proprietor of a run-down British castle unleashes the long dormant ghosts of his odd family when he creates a phony facade of spirits. Veteran star Peter O'Toole gives a charming performance as the owner with the wonderfully eccentric Liz Smith as his dotty mother, the only person aware of the ghosts. That is until snooty Beverly D'Angelo arrives with the intention of claiming it. Her neglected husband (Steve Guttenberg) begins to see a ghostly murder repeated over and over, and his interference changes the course of history at the castle. Harmless fun, this popcorn film is a modern day "Canterville Ghost" that has plenty of laughs, a lot of romance, and a few scares. Handsome Peter Gallagher (as a priest who has not taken his final vows) and vinegary voiced Jennifer Tilly appear in smaller roles that serve no purpose although the flying bed that Tilly is on ended up on the original poster.I discovered Liz Smith (no relation to the famous New York columnist) in the late 80's when she made a slew of British produced movies released to American audiences, and fell absolutely in love with her. She reminded me of a slightly classier Hermoine Baddley. Gorgeous Darryl Hannah and rugged Liam Neeson are excellent as the ghosts who surprisingly find love with the mortals haunting their ancestral home. D'Angelo, one of the wonders of the 80's (because I always wonder what happened to her until I investigated after seeing this movie again!), is beautiful, snooty, imperious, funny, and riveting. The only acting disappointment for me was Guttenberg whose acting style seems oddly out of place from the rest of the cast. While this will be greatly compared to other supernatural comedies such as "Beetlejuice" and "Hocus Pocus" (as well as the disastrous "Haunted Honeymoon"), it is still fun on its own merits.
Letter from Allen (Chillicothe, Ohio) to Dawson (Cincinnati, Ohio) about Dawson's interest in Allen's reelection and presidential matters. Allen writes that Van Buren is in high spirits and Allen will start east day after tomorrow.
The daring choice to age the two lovers, which oddly but compellingly suggests that Petruchio resembles a wayward Hamlet running away from his dead father to be cured by love, was the highlight of this production. The actors and director, who proclaim "trust Shakespeare" to be their motto, were committed to what we might call the Branagh school of acting, in which clarity is all. The staging was clear, entertaining, and always high-spirited. Highlights of the production included a lively and full rendition of Sly's Induction and a scene-stealing turn by Steven Eng as Petruchio's servant Grumio, whose farcical high spirits reminded the audience that Petruchio's manic temper never made him threatening. At times the physical comedy was quite broad, as when Petruchio tossed Katherina over his shoulder after the wedding (3.2). The Induction was another case in point: Benjamin Curns's wonderfully expressive Sly got slightly upstaged by the extended stage business in which the Lord's servants could not quite lift his ale-sodden body onto the couch. The audience laughed at the physical play, but at the cost of turning its attention temporarily away from the language.
Hee arrived Friday morning at the Douglas County Courthouse in what appeared to be good spirits. He was hurt during the chase while he was on foot on a roadway trying to lay down stop sticks to stop Stone. Hee wound up getting clipped by the minivan Stone was driving at the time. The impact sent him flying over a guardrail.