The Ghost Goes West
Why this pick
Like Topper, this is a buoyant prewar fantasy-comedy where a ghostly presence disrupts respectable life, delivered with airy sophistication rather than menace.
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
Why this pick
Like Topper, this is a buoyant prewar fantasy-comedy where a ghostly presence disrupts respectable life, delivered with airy sophistication rather than menace.
Why this pick
Its afterlife premise has the same elegant, mischievous spirit as Topper, using supernatural bureaucracy to propel romantic comedy and a warmly human second chance.
Why this pick
A dry, polished drawing-room comedy in which the dead make domestic order impossible—an especially good fit for Topper’s genteel setting and playful spectral chaos.
Why this pick
René Clair brings the same featherlight fantasy touch to a romance upended by magic, with glamorous stars and delightful irreverence toward conventional respectability.
Why this pick
For Topper’s refined afterlife wit and sympathetic scoundrels, this Lubitsch fantasy offers a similarly urbane, romantic view of judgment, pleasure, and redemption.
Finding the atmosphere, tension and little details that made this one stay with you.
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01 / THE STORY
George (Cary Grant) and Marion (Constance Bennett) Kerby are as rich as they are irresponsible. When George wrecks their classy sports car, they wake up from the accident as ghosts. Realizing they aren’t in heaven or hell because they’ve never been responsible enough to do good deeds or bad ones, they decide that freeing their old friend Cosmo Topper (Roland Young) from his regimented lifestyle will be their ticket into heaven.
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02 / FACES IN THE FRAME

George Kerby
Wilkins - Topper Butler
Miss Johnson - Mr. Topper's Secretary

Policeman (as J. Farrell McDonald)
Rustic
Rustic
Mrs. Clara Topper
Elevator Boy / Bellboy