Furious that her late father only willed her his gloomy-looking mansion rather than his millions, Carrigan Crittenden (Cathy Moriarty) is ready to burn the place to the ground when she discovers a map to a treasure hidden in the house. But when she enters the rickety mansion to seek her claim, she is frightened away by a wicked wave of ghosts. Determined to get her hands on this hidden fortune, she hires afterlife therapist Dr. James Harvey (Bill Pullman) to exorcise the ghosts from the mansion. Harvey and his daughter Kat (Christina Ricci) move in, and soon Kat meets Casper (Malachi Pearson), the ghost of a young boy who's "the friendliest ghost you know". But not so friendly are Casper's uncles,- Stretch (Joe Nipote), Fatso (Brad Garrett), and Stinkie (Joe Alaskey) - who are determined to drive all "fleshies" away. Ultimately, it is up to James and Kat to help the ghosts cross over to the other side.Written by
Joshua Davis <firstname.lastname@example.org>
Original director Alex Proyas wanted something unusual for the design of Whipstaff Manor. Production designer Leslie Dilley suggested up front that they should go with a haunted house that's not the usual nineteenth century Victorian design, and designed the Manor based on the style of Antionio Gaudi, a nineteenth century modernist architect. Whipstaff Manor is primarily inspired by Gaudi's Casa Batlló, a house he designed in Barcelona: the outside of Whipstaff echoes the famous undulating exterior of Batlló with the "whale jaw" balconies the painted diamond "tiling" seen inside the entry mirrors the "dragon scale" roof of Batlló the main room borrows directly from the unique stained glass, woodwork, and organic shapes found on the Noble Floor of Batlló and the swirled ceiling seen in Whipstaff Manor is an almost identical replica of the ceiling in Batlló. See more »
The scene between Kat and Casper where he says that he can't hurt her and then makes his hand go though her's shows that ghosts cannot touch living beings, yet multiple times ghosts touch people. See more »
[Dr Harvey pulls at the carpet to stop him rolling down the stairs, it comes away and he rolls down the stairs in the carpet]
Sushi, anyone? California roll, comin' up!
See more »
The film title appears from smoke and vapor.
At the end of the film, Casper writes "The End" from a smoke trail. See more »
often beautiful, often creepy, mostly wonderful, but . . .
I don't view films as if I'm watching them as the intended audience; I watch them for myself. And that's why I found it odd at how engrossed I was when I watched this film for the first time at the age of eighteen. Aside from the great gothic flair of the mansion, two superbly placed cameos, and nice laughable black humour from the "trio," the film took off because of its emotional core. It's something that a youngster can really get into, but also anyone who finds it sad that a child can die. When Casper plays with his toys, I just wanted to start crying. This eternal child--lost and stuck in an age of mystery and wonder. And yet, he's smitten with a girl--he's starting to go through puberty. And it's just so sad . . . and beautiful.
And then there's the father, and his sway into the afterlife, his daughter's plight, her struggle with her wish to help Casper. It's all so simple and written for kids, but I was so engrossed by the romanticism of it all.
The villains mostly butt into the greatness of all of it, but you just have to grant that in a kid's picture. And now comes my but . . . in the end, when the mother does appear, she's supposed to be this amazing, angelic, deux es machinal, she floats through the stain glass window, her long hair flows around her, her gown flows all around her but--what the hell! why is her dress such a deep red!? she looks like satan! Oh well. Bad costume choice made a really bad moment. But mostly, I loved this film for it's good parts, despite the childishness of much of it.
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