| Rex Harrison | ... | Charles Condomine | |
| Constance Cummings | ... | Ruth Condomine | |
| Kay Hammond | ... | Elvira Condomine | |
| Margaret Rutherford | ... | Madame Arcati | |
| Hugh Wakefield | ... | Dr. George Bradman | |
| Joyce Carey | ... | Violet Bradman | |
| Jacqueline Clarke | ... | Edith (as Jaqueline Clarke) | |
| rest of cast listed alphabetically: | |||
| Marie Ault | ... | Cook (uncredited) | |
| Noel Coward | ... | Narrator (uncredited) | |
| Johnnie Schofield | ... | R.A.C. Man Directing Traffic (uncredited) | |
Directed by | |||
| David Lean | |||
Writing credits | ||
| David Lean | (adapted for the screen by) & | |
| Ronald Neame | (adapted for the screen by) & | |
| Anthony Havelock-Allan | (adapted for the screen by) | |
| Noel Coward | play (uncredited) | |
| Noel Coward | screenplay (uncredited) | |
Produced by | |||
| Noel Coward | .... | producer | |
Original Music by | |||
| Richard Addinsell | |||
Cinematography by | |||
| Ronald Neame | (photographed in Technicolor by) | ||
Film Editing by | |||
| Jack Harris | |||
Casting by | |||
| Irene Howard | (uncredited) | ||
Art Direction by | |||
| C.P. Norman | |||
Set Decoration by | |||
| Arthur Taksen | (uncredited) | ||
Costume Design by | |||
| Rahvis | (dresses) | ||
Makeup Department | |||
| Tony Sforzini | .... | makeup artist | |
| Vivienne Walker | .... | hairdresser | |
Production Management | |||
| Anthony Havelock-Allan | .... | in charge of production | |
| Norman Spencer | .... | unit manager | |
| Sydney Streeter | .... | unit manager (as S.S. Streeter) | |
| Herbert Smith | .... | executive in charge of production (uncredited) | |
Second Unit Director or Assistant Director | |||
| George Pollock | .... | assistant director | |
Art Department | |||
| G.E. Calthrop | .... | art supervisor: Noel Coward | |
| T. Hopewell Ash | .... | draughtsman (uncredited) | |
Sound Department | |||
| John Cook | .... | sound recordist (as John Cooke) | |
| Desmond Dew | .... | sound recordist | |
| Cyril Crowhurst | .... | dubbing editor (uncredited) | |
| Roy Day | .... | sound camera operator (uncredited) | |
| Percy Dayton | .... | boom operator (uncredited) | |
| Anthony J. Kay | .... | dubbing crew (uncredited) | |
| George Paternoster | .... | assistant boom operator (uncredited) | |
| Alan Whatley | .... | dubbing crew (uncredited) | |
Special Effects by | |||
| Tom Howard | .... | special effects | |
Visual Effects by | |||
| Charles Staffell | .... | back projection (uncredited) | |
Camera and Electrical Department | |||
| William McLeod | .... | camera operator (as Wm. McLeod) | |
| D. Bartlett | .... | focus puller (uncredited) | |
| Wilfrid Newton | .... | still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Hilda Collins | .... | dress supervisor | |
Editorial Department | |||
| Margery Saunders | .... | assembly editor (uncredited) | |
| Norah Walsh | .... | assistant editor (uncredited) | |
Music Department | |||
| Muir Mathieson | .... | conductor: The London Symphony Orchestra | |
| Leonard Isaacs | .... | orchestrator (uncredited) | |
Other crew | |||
| Joan Bridge | .... | for Technicolor: associate colour director | |
| Natalie Kalmus | .... | for Technicolor: colour director | |
| George Minassian | .... | for Technicolor: technician | |
| Yvonne Axeworthy | .... | assistant continuity (uncredited) | |
| Maggie Unsworth | .... | continuity (uncredited) | |
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| Gone with the Wind | The English Patient | The Door in the Floor | Holes | Heart |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb UK section |
Noel Coward wrote Blithe Spirit in 5 days during Britain's darkest days of the Second World War. The play completed 3 decades as Britain's longest run in West End for a comedic play. The film which was adapted from the play was directed by David Lean and incorporated some of the most sophisticated special effects yet seen in a movie. The film tackles some dark themes such as death and falling in and out of love. The characters themselves are on the face of it unsympathetic. Elvira is a siren, Ruth is shrewish and Charles a misogynist. Despite this the film works well as a comedy because of the quick and clever dialogue between the characters and the scene stealing performances of Margaret Rutherford's Madame Arcarti. You end laughing at and sometimes with the characters as one would do a Shakespeare comedy. Never has a film about death been so funny