Ghost Goes Gear [DVD] [1966] [US Import] [NTSC]

To be perfectly honest, I didn't want to like this film. Overall, I thought it was Monkees-lite. And any attempt at sticking with a storyline goes out the window about twenty minutes in. This is unfortunate, because the film would be far more memorable if the slick madcap weirdness of the opening segments could have been maintained. However, I wound up thinking the movie wasn't half-bad, for what it was.

Some have criticized the director, Hugh Gladwish, for letting the plot get lost, but I think he did pretty good with the rest of it. Visually, the film has some minor flair. The camera motion is reserved, yet fluid when called for. And I was struck by how sharp the focus was throughout the whole film. I also liked the Monkees-ish drum chase down the river in the opening segment, and the umbrella-march to Rowthorpe Hall. The Spencer Davis Group isn't too bad at Monkee-like mugging for the camera. The lads are pleasant enough, and do their best. The ghost is kind of funny, too. There is even a touch of Python in the proceedings.

Two personalities stand out in the rest of the cast; Jack Haig will be instantly recognizable to fans of the Britcom "'Allo, 'Allo!" And Nicholas Parsons is interesting as the uptight band manager, sort of a cross between John Cleese and Paul Lynde.

The audio commentary is more about the music scene in England at the time of the film, rather than about the film itself. This commentary was enjoyable, though, and informative. Spencer Davis and humorist Martin Lewis readily joke that the film was a black hole for just about everyone career-wise.

The Spencer Davis Group is not bad at cooking up the groovy tunes. The other acts are instantly forgettable, save for the Paramount Jazz Band which seems rediculously out of place in the movie (the commentary explains that, in reality, the jazz band fits for the era). And Dave Berry is just plain annoying with his weird, hide-his-face foolishness. Thank goodness he only has two songs!

The Three Belles are an odd act, too. As Spencer and Martin Lewis remark in the commentary, they appear to be the inspiration for Austin Powers' Femmbots. In their first number, look for the middle Belle, who is the only one who seems to know how to react to the camera. One gets the sense that the producers just lined up whoever was available, but not bigger than the Spencer Davis Group.

Of course, Stevie Winwood fans will want to see the film, but he really doesn't do much acting-wise. Spencer and Peter York do most of the work there.

There's no naughtiness whatsoever, so you don't have to worry if your kids want to watch it (not that it will hold their attention past when the "gear" concert starts).

This slice of the Sixties British Invasion will undoubtedly be more interesting if you're into the Spencer Davis Group or the era, but the movie really holds more significance for the British audience than for anyone in the US.

Fortunately, the film is played broadly by the cast, and Spencer Davis and his bandmates, brothers Muff (bass guitar) and Steve Winwood (guitar and keyboards), and Peter York (drums) acquit themselves nicely. Steve Winwood first made his musical mark with The Spencer Davis Group ("Gimme Some Lovin'," "I'm a Man") and went on to greater success as a member of Traffic and, later, as a solo act. Here, he's a very young looking 18 year old and is the quiet one of the group. While the band doesn't play any of its hits here (at least those with which U.S. audiences would be familiar), musically, they are the best thing going in the film. They perform a terrific, slightly country version of "The Midnight Special" that I found myself humming for several days after viewing the film. The other acts perform pleasant, but instantly forgettable tunes.

Anchor Bay has done their usual great job in bringing this rarity to DVD. The film is presented in the widescreen format from, reportedly, the only uncut print of the film known to exist. There's also a very entertaining commentary track featuring Spencer Davis and humorist Martin Lewis.

The "bottom line" on "The Ghost Goes Gear" is that it is an enjoyable, lighthearted romp that harkens back to the days when rock and roll was much happier and less angst ridden. View it in that context and you'll have a "fab" time.