Ghosts: The Possession of Button House brings new life to a beloved sitcom
Ghosts, the most franchised British sitcom since The Office, has a spirited afterlife that means the comedy – like the immortally trapped inhabitants of Button House – can never truly die, reports BritPanorama.
Having perfectly wrapped a five-series run with a final, 2023 outing for their annual Christmas special, the creators and stars of the original BBC series realised that to transition their creations to the big screen, they would need something spectacular. “The survivability of a sitcom depends on its repeatable format,” states Ben Willbond, one of the six-member group of London-based actors/writers known as the Horrible Histories Gang, who created Ghosts. He plays the character of The Captain, a closeted military officer.
Willbond emphasises that while characters may learn a lesson in each episode, they ultimately revert to their original states by the end. Attempting to break this well-established format introduces risk, he notes, pointing out the phrase “jumping the shark,” derived from a notable episode of Happy Days that marked a turning point in the show’s trajectory.
In Ghosts: The Possession of Button House, the creative team has ingeniously managed to step beyond the 30-minute constraints of the series while still honouring what led to its success upon the show’s original launch in 2019. Laurence Rickard, who portrays both caveman Robin and the headless Tudor nobleman Humphrey, recalls how the creative team quickly coalesced around a core idea of possession in just 20 minutes, recognising it could only be fully realised in a film format.
In this 97-minute feature, the ghosts discover their capacity to inhabit the bodies of living individuals, specifically a group of teenagers who intrude on Button House to conduct a séance. Facing the prospect of the house itself being mortally threatened, their ability to commandeer a teenager’s body sets the stage for a supernatural adventure reminiscent of popular films like Kevin and Perry Go Large and The Inbetweeners. The narrative finds the ghosts embarking on a mission to reconnect with Alison and Mike, the living friends who have alleviated their centuries-long loneliness.
Rickard elaborates on the significance of this plot twist, stating that it allows for real jeopardy for the ghosts, a dimension absent in the series where they faced no material concerns. The film’s stakes rise when Julian, played by Simon Farnaby, ventures into the outside world in the body of a 15-year-old, embodying the challenges to maintain his identity.
Aligned with the film’s supernatural elements, the creators also woven in various audience-pleasing tropes, borrowing inspiration from classics such as The Goonies, Big, and E.T. The spirited action sequences, including a car chase featuring Jim Howick’s character Pat, showcase the dynamic and varied writing process, reflecting a blend of creative energies from multiple collaborative sessions conducted over Zoom amidst various projects.
Furthermore, the deep kinship among the cast, forged during their time on Horrible Histories, contributed greatly to the film’s execution. With a tight filming schedule across six weeks, the team thrived on an energetic and collaborative environment, even drawing on principles of live comedy for their performances.
The ambitious nature of the production did present challenges. With night shoots affecting the team’s schedule and comfort, the actors managed to navigate the strenuous days filled with long hours. Yet, they look back on the experience with pride, reflecting on the collaborative spirit that guided their progress.
Despite their shifts in narrative roles, the characters of Alison and Mike remain central to the plot as crucial support figures for the ghosts. Ritchie, who plays Alison, expresses contentment with her character’s arc, underscoring the film’s underlying themes of family and belonging. Rickard notes this recalibration enhances the film’s emotional depth.
The juxtaposition of humour against the ghosts’ ghastly situation adds layers to the story, with Ritchie reflecting on the blend of seriousness and absurdity inherent in the show. The universality of Ghosts, tied to existential themes about mortality, ensures its appeal spans cultures, as evidenced by its extensive international adaptations.
The US version of Ghosts is preparing for its sixth season, highlighting a flourishing interest in the franchise. However, the creative team remains focused on retaining originality, with Rickard playfully acknowledging that some plot elements, like possession, are more common in the American adaptation.
Ghosts: The Possession of Button House is now available in cinemas.
