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Ghost Stories for Christmas - The Definitive Collection (5-DVD set)

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Also accompanying the set is a 38-page Bookletcontaining five fascinating articles and credits for all four films and the special features. R. James in his role of provost of King's College Cambridge at the dawn of the last century and relates two of his ghost stories to a small gathering of masters and students as they sit sipping sherry around a coal fire on Christmas Eve. It's a bond cemented by the film adaptations, all three of which (I’m including both versions of Whistle) aged their young protagonists by at least thirty years and cast respected and experienced older actors in the roles, each of whom brought more depth to their characters than they had on the page. And despite the object’s symbolic significance in relation to Parkin’s bond to his wife, I can't be the only one who associates gold rings bearing inscriptions more with J.

While out on a walk he comes across a mysterious bone whistle, the discovery of which ends up having disturbing consequences for him. it achieves comparably skilful effects through visual language and sound, heightening theme and supernatural mood. Of Paxton's agitation all this time I can give you no adequate picture: he breathed like a hunted beast, and we could not either of us look at his face. Hogan also suggests that the films in this series are beautifully crafted examples of how to adapt written works for television. But after being disturbed at night, Anderson discovers that a previously missing room 13 has appeared.

It's a similar story for Lost Hearts, where the contrast is well balanced, the black levels solid, the colours pleasingly rendered, and the film grain as visible as in the preceding two titles. For Christmas 2008 an original three-part ghost story by Mark Gatiss, Crooked House, was produced instead, though Gatiss has cited the original adaptations as a key influence.

A lot of film horror has washed under the bridge since Jonathan Miller's superb 1968 TV chiller, and it was just possible that a new take could still prove effective if it approached the source material from a different angle. Three linked episodes tell the story of the ghostly secrets of Geap Manor, a recently demolished Tudor mansion in both the past and present.In Whistle its discovery is handled quickly and without drama, whereas here the unearthing of the crown is the film's longest scene, one whose building sense of foreboding and use of facial close-ups, coupled with Paxton's mounting fear of what waits just beyond the light of his lantern, is genuinely unnerving. Having read of the legend, middle-aged former clerk and amateur archaeologist Paxton (Peter Vaughan) arrives in Seaburg with the intention of locating and retrieving the crown, unaware that the spirit of William Ager continues to guard it from beyond the grave.

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