The display of romance between humans and supernatural creatures is not new or rare and may be traced back to the Greeks and their love stories. There are many reasons behind this logical standing point. The harsh truth about genuine love as opposed to mere infatuation is the fact that love can be hurtful and destructive. This, however, has a way about it and does not sit well with the majority of people. By throwing it in a fantastical metaphor, or myth or any supernatural element, it really makes the vision so awe-inspiring and appealing and people don’t have to worry about the anxiety that comes with it. From Beauty and the Beast and Ghost to every modern young adult in love romance, the concepts of fantasy have been used inappropriately many times before. Girl Haunts Boy is another film that has successfully mastered the use of this fantasy in their plots, in this case, a ghost haunting a boy.
Describe a character who is a 17-year-old student somehow melancholic yet inquisitive — Bea, a high school behavior of the 1920s class who, along with her classmates, goes to the museum for a field trip. Now, instead of observing the exhibit, she gets a little too inquisitive and ends up stealing a lovely green ring. It is evident that, unbeknownst to her, her choice has so many consequences that she instantly faces them as she exits the museum: she is struck by a car and dies. She has a car hit her right after she leaves the museum, and while it is a cursed ring, the cars were only supposed to go 15 miles per hour in the 1920s.
One hundred years later and Cole, high school student played by Michael Cimino, is moved within a new suburban home by his mother who is still grieving the loss of her husband. Cole was socially awkward and used to being lonely, but had inherited the same passion for music as his deceased father. Then Cole swaps his ring and sees a ghost of a woman who had stolen the other half of the ring – and no one else can see her.
Initially, Cole is understandably startled but Cimino plays around with the ghost girl that no one sees in a bit of slapstick and mime. Bea is indifferent and overcome with joy to actually interact with someone. Unlike most other lovey-dovey stories, there isn’t any otherworldly, creepy, trippy or psychedelic about her presence here; Bea brusquely walks into the frame where, a century back, her appearance would have won hearts, and now she cuts an immaculate picture with a welcoming smile to boot. Quite charmingly, it’s all quite mild – markedly less frightening than such old-school genre classics as The Ghost and Mrs. Muir.
The 100-year leap that Bea experiences also helps set Girl Haunts Boy apart from the usual supernatural romance. Rather than utilising a common metaphor, Cole and Bea get to know each other by learning about their histories, with Cole introducing 20th-century jeunesse to Bea through his music obsession, which is quite original in its way. Big band, bebop, blues, rocking and rolling, mods, punk, disco, whatever special weirdness David Bowie was — Cole gives these blessings of culture and their time around him very quickly.
This could be the highlight of the movie. It is an elongated segment in the middle. It seemed appropriate to finish with a few montages, a set dance number, some late night dialogues, and a stroll down memory lane, the way that Bea and Cole come together is quite lovely. It is wholesome and very memorable to witness them engage in animated conversations like imagining what a concert of the last hundred years could have been like for example imagining if Post Malone was supported by Cole Porter on the patio. It evokes the gentleness of autumn days and temperatures.
The first half really picked up the pace but the second half has more of hush says Boy Haunts Girl. The exposition presents what the ring is and what power it has, an overly sentimental love ballad, for the performance is interesting but consists surely of one repetitive song, and of course totally uneventful and unnecessarily lengthy such conversations with melodramatic tones, after the first forty-five of the movie the pace again started this time though more of sloga.
The good news is that the characters are worth seeing to the end as the movie gradually develops towards a shocking climax. It’s easy to get annoyed when the constant voiceover foreshadows the end, though, as it’s honestly pretty pointless. Fortunately, the film achieves a satisfying ending which is also hauntingly beautiful. But, aside from the picture’s conclusion, the narrative is typical teen fare for the most part and plays out in a rather anticipable way. That’s not a bad thing about it since it’s a good fit for people who want to celebrate Spooktober in a different fashion without barfing all over the place. The kinds of movies that are entertaining. Rather, it is ideal for those seeking to enjoy a warm apple ooze along with a cuddle buddy.
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