There are few collaborations that brought on more masterful results than those between David Lean and Noël Coward, who worked together on a few films over the course of the 1940s, the esteemed playwright working as a scribe for the young filmmaker, and even serving as a co-director on his first film. We’ve previously spoken about their incredible collaboration that resulted in Brief Encounter, which remains arguably the greatest screen romance of all time and a film that has influenced nearly a century of filmmakers. However, in this same year, Lean and Coward worked on another film together, this time a more upbeat story. This time, their focus was on possibly Coward’s most beloved work, the hilarious and irreverent Blithe Spirit, one of the many comedies that has made its way from the 1940s to the present era, entertaining audiences across multiple generations, and keeping them engaged in the way only possible when crafted by someone with the keen sense of humour and ability to look to find the inherent comedy in the most unconventional scenarios. For this reason (as well as several others), Blithe Spirit was a perfect collaboration between two of the finest artists in their respective fields, a collision of their talents in a way that brings only the most enduring and fascinating ideas to the forefront, and leaves us in a state of absolute awe-inspired wonder, which is not something many of us would expect from a relatively straightforward comedy – but then again, if there’s someone who is going to produce a film that will inspire us to expect the unexpected, it would certainly be Lean and his very precise method of putting together films that keep us engaged and entertained from beginning to end.

Considering they were released in the same year, it is astonishing how different Blithe Spirit is from Brief Encounter. While the latter is a sobering story of heartbreak, the former is an upbeat, darkly satirical comedy-of-manners – and yet, somehow it makes just as much sense that Lean and Coward collaborated on this as it did the other film. We don’t often find Lean working with comedy very often – he made a few, but considering his cultural cache is now mostly with big-budget war epics and adventure films, something as small and intimate, and most importantly outrageously funny, as Blithe Spirit seems like a welcome change of pace. Only his third film (and the first that did not directly address the themes of the Second World War, which were the most prominent themes of both of his previous films – interestingly, both of those were made in conjunction with Coward himself, starting a brief but memorable partnership between the pair), the film represents many of the qualities we’d come to expect from Lean, albeit on a much smaller scale. The direct approach to telling an interesting story without spending too much time on the spectacle, the use of every available resource in constructing the narrative (the special effects used in this film are still compelling, nearly eighty years since its release), and a very distinct touch of the otherworldy, which becomes quite literal as a result of the very specific details of the story. These elements intermingle with Coward’s writing, which is perfectly complemented by Lean’s unique touch, which is a lot more complex than other stage-to-screen adaptations, in which many seem to genuinely believe all one needs to do is move the actors to a film set and have them perform as they would on stage. Blithe Spirit is far too vibrant for such methods, and even as a relatively new director, Lean demonstrates a striking ability to bring out the hidden meaning, especially when it seems like there isn’t much that can be done from a directorial standpoint in the first place, a common mistake often used to invalidate those auteurs who work in films that originated on stage.

Several members of the original production of Blithe Spirit returned for this adaptation, including Margaret Rutherford and Kay Hammond, playing the roles of Madame Arcati and Elvira Condomine respectively. You can immediately tell in a film version of a recently successful staging of a play whether someone had been brought over from the original production or if they had been hired specification for this adaptation, since there’s a level of ease that indicates that they’re extremely comfortable with the material. The dialogue flows from Rutherford and Hammond with striking authenticity, proving that they had grown accustomed to these characters, and found their interpretation of these individuals through carefully developing them night after night on stage. Rutherford in particular is incredible – as vivacious as ever, and brimming with a raw energy that makes us understand why she is considered one of the true gems of British acting, she’s extraordinary here, with Hammond being just as wonderful. However, despite being brought to the film without having played the roles on stage, Rex Harrison and Constance Cummings are equally as astonishing – hilarious and irreverent, they inhabit these roles with an incredible dedication that we don’t often find, playing off their fellow actors with a combination of sophistication and joyful exuberance, which allows the film to exude the feeling of pure pleasure – these actors are having a good time, and by extent are inviting the viewer to join them, which is one of the most distinct qualities of Coward’s work. Even in his slightly more dramatic efforts, Coward’s plays and films represent a very deep sense of comfort that allows the audience to feel every emotion, whether it be joy or despair – and in the case of Blithe Spirit, both are more than appropriate, almost seeming like they’re being actively encouraged.

Perhaps the most reasonable explanation behind the immense success of Blithe Spirit (especially in comparison to other similar films from the era, which are not nearly as effective) is that it is a film that manages to balance multiple genres, and somehow managing to master all of them, which may not have been the intention at the start, especially since trying to be equally successful as a comedy, a romance and a work of fantasy is a major task, and not one that everyone can always accomplish without some difficulty. What made Coward such a revered member of the literary elite is how easy he made everything seem – few writers have ever been more capable of his level of simultaneous wit and insight, and his comedies reflect a keen awareness of not only of the people who orbited in his specific social strata, but the culture as a whole, which he represents in extraordinary detail. Despite only serving as a writer and producer on the film, it is not a mistake that Coward receives the final credit on this film, a spot normally reserved for the director. He is the main authorial voice, while Lean (as brilliant a filmmaker as he may be), was tasked with simply ensuring that the playwright’s wonderful words made it to the screen in a manner that was not only effective, but worthy of his talents – popular legend states that Coward was actually unimpressed with some of Lean’s decisions in terms of the changes, with a few additions to the story being seen as ineffectual (but considering they include a few brilliant sequences, one can say that this ire was not earned). The brilliance is in the wonderful collaboration between the two, with Blithe Spirit benefitting massively from the convergence of a pair of brilliant minds, who worked together to bring this delightfully dark farce to the screen.

Blithe Spirit may be a film that is overshadowed by the other major collaboration between Lean and Coward, but it is in no way a minor film. If anything, this is an example of two great artists coming together to create something that seems straightforward at first, but possesses an enchanting quality that makes it so compelling, even when it is bordering on outright predictable. We don’t attend adaptations of Coward’s work for the sake of experiencing something entirely unique – his plays are direct, simple and sophisticated, and follow a familiar pattern that may be uninspiring for cynical viewers, but has a truly wonderful element that keeps those who can surrender to its strange charms so incredibly interested, to the point where we don’t even mind that some of the material is slightly inconsistent. Grounded by some wonderful performances, and directed by someone who clearly has a real fondness for this material, Blithe Spirit is a really remarkable film, one with a lot of heart and an even better sense of humour. Coward considered this the greatest play he ever wrote, so expectations were certainly high for this adaptation, and while it is likely nothing compared to the original stage production (even with the presence of a couple of actors reprising their roles), this is certainly an exceptionally well-composed film with as much dedication to the material as it does the commitment to the viewer to give us something memorable – and whether playing to the farcical elements, highlighting the fantasy or engaging in charming romance, Blithe Spirit is a truly magical film.