The sisters come back to Delores's show to get her back as Sister Mary Clarence to teach music to a group of students in their parochial school which is doomed for closure. One of the girls... See full summary »
Sam and Molly are a very happy couple and deeply in love. Walking back to their new apartment after a night out at the theatre, they encounter a thief in a dark alley, and Sam is murdered. He finds himself trapped as a ghost and realises that his death was no accident. He must warn Molly about the danger that she is in. But as a ghost he can not be seen or heard by the living, and so he tries to communicate with Molly through Oda Mae Brown, a psychic who didn't even realise that her powers were real. Written by
Sami Al-Taher <email@example.com>
In the farewell scene where Sam tells Molly that he always loved her, Patrick Swayze's emotion was in fact real, for he thought about his own father who passed away in 1982. See more »
When Oda Mae leaves Molly's loft after telling her who killed Sam, Oda Mae says, "You have a nice life," pointing her right hand, "and you have a nice death," pointing her left hand. But the next shot shows that Sam is to Oda's right and Molly is to Oda's left. See more »
In 1970 we had "Love Story" remember? Ryan O'Neal and Ali McGraw crying and loving all the way to the bank? 1990 gave us "Ghost" love beyond death and corporate shenanigans. I saw it last night for the first time and surprise, surprise, 15 years later I do understand why people all over the world flocked to see, to devour this soufflé, again and again. Bruce Joel Rubin won an Academy Award for the screenplay, I remember Jodie Foster handing him the statuette with a smile worthy of a British diplomat. But in fact, the screenplay should have propelled the Academy to create a separate category alongside Best Original Screenplay and Best Adapted Screenplay. Yes, Smart Ass Screenplay of the year or Most Commercial Screenplay. Jerry Zucker does a masterful job allowing Rubin's stroke of genius to unfold without major interference. Demi Moore is scrumptious and what Maurice Jarre does with her tears deserves an award of its own. Patrick Swayze suffers with a certain amount of dignity, his anger is very virile but his expressions of longing are pure Lana Turner. What makes the whole calculated enterprise worth every bit of its hype is Whoopi Goldberg. She brings the tale where it really belongs. A comedy. A ghostly comedy about enduring love.
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