Alright, fellow tapeheads, pop that well-worn copy of High Spirits (1988) into the VCR – you know, the one with the slightly faded cover art showing a spectral Daryl Hannah floating alluringly? Prepare for a blast of gloriously chaotic energy, a film that feels like it was assembled during a poltergeist infestation itself, and honestly, that’s a huge part of its charm. This isn't subtle filmmaking; it's a rambunctious Irish stew of supernatural romance, broad comedy, and sheer 80s excess, served up with a wink and a pint by a surprisingly high-calibre cast.
Forget a slow burn; High Spirits throws you headfirst into the crumbling majesty of Castle Plunkett. Our host is the perpetually soused Peter Plunkett, played with magnificent, scenery-chewing gusto by the legendary Peter O'Toole. Facing foreclosure from a humourless American property developer (a perfectly cast Martin Ferrero, forever remembered as the lawyer devoured on the toilet in Jurassic Park), Plunkett concocts a desperate scheme: market his ancestral home as Europe's most haunted castle. The only snag? His entirely inept staff (including a young, pre-Taken Liam Neeson looking vaguely bewildered) are terrible at faking hauntings.
### When Fake Ghosts Summon Real Spectres
The arrival of the first busload of American tourists sets the stage for pure farce. We've got Steve Guttenberg (fresh off Police Academy and Cocoon triumphs) as Jack, a man whose marriage to the cynical Sharon (Beverly D'Angelo, radiating glorious exasperation) is on the rocks. Alongside them are a "parapsychologist" couple (played with gusto by Peter Gallagher and Jennifer Tilly) adding to the mix. When Plunkett's pathetic attempts at spookiness fall flat, the castle’s actual ghosts – centuries-old spirits bound by tragic romance and unfinished business – decide to show these amateurs how it’s done.
This is where the film truly embraces its delightfully messy identity. It pivots wildly between Jack's burgeoning romance with the ethereal Mary Plunkett (Daryl Hannah, luminous and effectively spectral), the parallel spectral affair between Sharon and the dashing ghost Martin Brogan (Liam Neeson), and O'Toole’s increasingly frantic attempts to manage the escalating supernatural bedlam. It's slapstick one minute, surprisingly sweet romance the next, all while spectral nuns fly through the air and inanimate objects develop violent personalities.
### Practical Magic and Pre-CGI Phantoms
Let's talk about those effects! Watching High Spirits now is a potent reminder of the pre-digital age of filmmaking. The ghosts often glow with a distinctive optical printer aura, objects fly on visible wires (if you squint!), and transformations rely on clever editing, prosthetics, and good old-fashioned physical gags. Remember how impressive Hannah's ghostly form looked floating through walls back then? There's a tactile, almost handcrafted feel to the scares and spectacles. Sure, it doesn't have the seamless polish of modern CGI, but there's an undeniable charm – a sense of real objects being manipulated, real sparks flying (sometimes literally). The climax, involving spectral battles and chaotic transformations, feels ambitious, even if the execution sometimes shows its seams. It aimed high, swinging for the fences with every practical trick in the book.
Peter O'Toole absolutely carries the film, delivering lines like "Begod, it's Guinness!" with theatrical flair that elevates the material. He seems to be having an absolute blast, a drunken maestro conducting an orchestra of chaos. Guttenberg plays the amiable American straight man effectively, grounding the absurdity somewhat, while Hannah brings a melancholic beauty to her ghostly role. Neeson, even in this early comedic part, has undeniable screen presence as the passionate phantom.
### The Troubled Spirit Behind the Camera
Now, for a bit of juicy Retro Fun Fact territory: High Spirits had a notoriously difficult birth. Visionary director Neil Jordan (who'd later give us masterpieces like The Crying Game (1992) and Interview with the Vampire (1994)) wrote the script and helmed the production, envisioning a potentially darker, more atmospheric blend of Irish folklore and ghostly romance. However, reports from the time suggest significant clashes with the producers, particularly the American distributor, Tri-Star Pictures. The studio apparently demanded more slapstick and broader comedy, leading to extensive re-editing that Jordan ultimately disowned. He wasn't even involved in the final cut, which might explain the film's sometimes jarring tonal shifts and frantic pacing. Filmed partly on location at the atmospheric (and reportedly actually haunted) Dromore Castle in County Limerick, Ireland, much of the $17 million budget clearly went towards the elaborate sets and those ambitious practical effects. Sadly, it tanked at the box office and was largely dismissed by critics upon release.
Does this troubled history make it a bad film? Not necessarily. Does it make it a weird film? Absolutely. It feels like two or three different movies wrestling for control, but the sheer energy, committed performances (especially O'Toole's), and nostalgic charm of its effects make it oddly compelling.
Rating: 6.5/10
Justification: Points awarded for Peter O'Toole's magnificent performance, the ambitious (if dated) practical effects, the gorgeous Irish scenery, and the sheer, unadulterated 80s weirdness. Points deducted for the undeniably choppy editing, uneven tone stemming from its troubled production, and jokes that sometimes fall spectacularly flat. It’s a mess, but often an entertaining one.
Final Thought: High Spirits is like that eccentric relative’s rambling ghost story told after one too many whiskies – confusing, slightly unbelievable, but delivered with such conviction and bizarre charm that you can’t help but enjoy the ride. A flawed gem perfect for a fuzzy VHS night.