... with a fantastic cast of veterans - Fred Astaire, John Houseman, Melvyn Douglas, Douglas Fairbanks Jr, and Patricia Neal. Unfortunately, the film always keeps getting in the way, leaving the veterans with scant onscreen attention.

The tale concerns a group of men, haunted by a death they were all accidentally responsible for in the early 1930s, and what happens when the ghost of that victim (Alice Krige) returns for vengeance, resulting in a lot of men shocked to death and abrupt shock cuts that show a rotting corpse in place of Krige's face. Unfortunately, maybe because of studio interference, the majority of screentime goes to Craig Wasson as a pair of Fairbanks' identical twin sons, one ill-fated very early on, the other more successful in surviving. Frankly put, although he isn't bad in the film, it feels like false advertising. (Wasson also has to have one of the tackiest death scenes in cinema history as the ill-fated brother who, terrified by Krige's skeletal look after a night of sex, plunges backwards stark naked from a high-rise window, as the film shows him against a badly processed back projection flailing his arms about, while his private parts flutters every which way like a Planters peanut caught in a strong wind). There's a reason Krige goes after the next generation in the case of Fairbanks' sons, but you'll have to watch and find out what that reason is.

So, Astaire and all the others I came to see are left with mere onscreen scraps, and are left with unformed characterizations. That feels like a grave betrayal for this classic film fan, especially in the light that it was the final film for Astaire, Douglas, and Fairbanks.

There were some particularly well-done parts though. For one Alice Krige was perfect for her part because her porcelain doll looks make her appear to be somebody out of an earlier time. Winter in the New England town the veteran actors live in has the look of a place that's haunted - it's very atmospheric. And finally, the film points out how having a crisis at 20 rather than 30 makes all the difference in the world as to the calmness and wisdom with which that crisis is handled.

Famous for its geriatric cast of renowned Hollywood stars and story based on a popular novel by Peter Straub, "Ghost Story" didn't quite satisfy me personally as a spooky experience, but it does have attributes I appreciated. The terrific Alice Krige offers plenty (not just her fine body in the buff) in the way of creeps and seductive power as a woman four old timers, members of the wealthy "Chowder Society", once knew as young men (and harbor a horrifying secret involving her that has started to haunt them in nightmares). She "surfaces" in a relationship with Douglas Fairbanks, Sr's son (s), played by Craig Wasson (Body Double; A Nightmare on Elm Street III) as twins (one of whom is frightened by the naked corpse of a woman that sends him falling out of a window of his swank apartment stories to his death). The other son, who had started a teaching position which offered a promising tenure, meets Krige (as a secretary to the principal), and he's never the same. He soon realized just how dangerous she was, even though he found himself smitten with her. Seeing Fred Astaire in a film like this was just compelling to me. He is as sweet- natured and genteel as ever. He does show how a mistake from the past involving him leaves a lasting ache he is unable to alleviate. In the bottom of a local river could be the answer to absolving him (as it would Fairbanks, Melvyn Douglas, and John Houseman), but will any of the Chowder Society (or Wasson's teacher, for that matter) get the chance? Houseman gets to tell a ghost story (always a pleasure to listen to that rich voice; but his work at the beginning of Carpenter's The Fog was superior, in my opinion), Douglas (looking quite tired and weary in old age) remains a tormented mess just wanting to confess their sin, and Fairbanks never gets his chance to fish with Wasson. Wasson has a pretty good, star-making role here, but Krige is really the actor that walks away with this film. She owns the screen every time she is featured.

Miguel Fernandes has a bizarre role as an occult obsessive, latching on to Krige's promise of eternal life if he (and his animalistic little brother who is basically a wild animal in kid's clothes) will help her bring her killers to justice. Two flashbacks reveal Krige in different time periods...this does kind of provide two instances where her character is identified as a threat and a victim. The bonding between her and the Chowders when they were young adults does fuel a real sense of tragedy. Krige's nakedness in the same film that Fred Astaire appears is kind of surreal, I felt. Good make-up effects for the slimy, rotted corpse that appears at the end. The cast has the kind of name value this film certainly benefits from. Patricia Neal and Jaqueline Brookes have small parts that don't really demand much except their concern for the men they love. There's a lot of story and not enough ghost for my liking.

I initially wanted to rate "Ghost Story" a fine 7/10, but I figured since I (voluntarily) had to endure watching such heavy rubbish earlier this week, I'd just chip in an extra point. I feel no shame about this, as the film is actually very good. At the start of the '80s, the horror landscape was changing. Films got a lot crazier, partly due to many great sfx artists rising to the scene and otherwise because of the mindset of that era (fashion, trends, etc). Often filmmakers cared less about telling a coherent story and more about making their films go over-the-top in any way they'd see fit. So in a way "Ghost Story" really feels like if it was one of the last 'classic' horror movies at the time. From the orchestrated soundtrack over the slow pace of the film, relying more on mood, tension and atmosphere to the splendid performances of our veteran foursome Fred Astaire, Melvin Douglas, John Houseman and Douglas Fairbanks Jr. The film is ingeniously structured, with various stories within the main story, nightmarish dream sequences and a great flashback story to the 1930's era. The settings provide some classic horror elements too, like the isolated snowy town, grisly frozen lakes and an old ramshackle haunted mansion. Sporadically, the film is also injected with some amusing scares provided by ghostly rotting appearances and the special visual effects by master matte artist Albert Whitlock are outstanding. Gorgeous actress Alice Krige has that icy cold mysteriousness over her that is fitting for her role. On top of that, she has more scenes with her clothes off then on. There are a couple subplots that could have been altered to make it an even better movie, but these are only minor problems. If you want a decent scary movie double bill with a classy feel to it for a dark & stormy night, I think teaming up John Irvin's "Ghost Story" (1981) with Peter Medak's "The Changeling" (1980) might work wonders.