story based on ghost
Answers
Explanation:
once I and my mother were sleeping I saw a ghost coming near me. it said why are you not boing scared of me. I said that's because you are not real. after telling this the ghost vanished.
MORAL: Be brave always
Answer:
Winter is a time for ghosts. The dark nights and colder weather make it perfect for cosying up in your armchair for a good ghost story – on page or screen.
The telling of such tales is a pastime that stretches back long before the advent of cinema, with the festive ghost story defined as far back as Charles Dickens’ classic A Christmas Carol, first published in 1843.
This tradition outlasted the Victorian period in the work of writers such as M.R. James and Algernon Blackwood, and later with TV adaptations of their works – notably in the BBC’s annual strand of Ghost Stories for Christmas, which spooked late-night audiences throughout the 1970s.
Although many of us no longer have open fires to send flickering shadows across our living rooms, we still have a huge appetite for spooky film and TV. Anything to fill that long reach of nights between Halloween and Christmas, then on into the bleak, dead days of January.
It’s a time of year when ghosts take on a particularly visceral character. As Scrooge himself asks in one film adaptation of Dickens’ famous fable: “Are these the shadows of things that must be?”
Scrooge (1951)
Scrooge is played by the wonderful Alastair Sim, who brings a winning mix of warm comedy and natural, winking pathos to the role. But he also gives some of the typically darker sequences an enjoyably unnerving tone. Take the ghost of Christmas future’s foretelling, which is shot in full-blown horror style by the miser’s empty graveside. As he begs the ghost, “Tell me I’m not already dead…”, Scrooge’s whimpers are still surprisingly eere.
The Haunting (1963)
Director Robert Wise read Shirley Jackson’s 1959 novel, The Haunting of Hill House, when he was in the final stages of making his Oscar-winning musical West Side Story (1961). He found it so unnerving that he decided it would be his next film. The result was one of the most starkly original ghost movies ever made, and one with a distinctly chilly turn.
The Haunting is seen from the depressive perspective of Eleanor (Julie Harris), who is invited to Hill House in order to help with a paranormal investigation. But she soon begins to lose her grasp on reality.
Although set largely indoors, there’s a sense of crisp, bitter air around the whole film. The leaves have long fallen from the trees, and the house, as famously stated at the beginning of Jackson’s book, is vile. So vile that the characters can barely cope with staying within its bulging, watching corridors.
Kwaidan (1964)
Director Masaki Kobayashi
Kwaidan (1964)
Coming a decade after Kenji Mizoguchi’s supernatural classic Ugetsu Monogatari (1953), Masaki Kobayashi’s epic upped the ante for Japanese ghost films, setting a high bar for horror anthologies that’s rarely been surpassed. Faithfully based on the short stories of Lafcadio Hearn, Kwaidan mixes dreamlike, often awe-inspiringly beautiful visuals with moments of genuine terror.
The film’s second story, ‘The Woman of the Snow’, is the wintriest offering here. It follows a woodcutter (Tatsuya Nakadai) stuck in the middle of a forest during a severe snowstorm. He makes a bargain with a strange woman (Keiko Kishi), supposedly a winter spirit, in return for safe passage. But when he forgets his promise, the mistake comes back to haunt him years later. Told against the cold light of a sky bedecked with watching eyes, this is as stylish (and stylised) as winter ghost stories get.
Watch Kwaidan online on BFI Player
Kill, Baby… Kill! (1966)
Director Mario Bava
Kill, Baby… Kill! (1966)
One of Italian horror king Mario Bava’s most overtly supernatural films, Kill, Baby… Kill! relishes in the unreasonable and the ghostly. We follow Dr Eswai (Giacomo Rossi Stuart), who has been sent into the depths of a wintry and superstitious Carpathian village to perform an autopsy. There he finds strange rituals carried out by the locals, who are terrified of the spirit of a dead girl. They place coins in the hearts of the deceased in order to fend off evil spirits, while a local witch is doing her utmost to keep the child’s deadly spectre at bay.
Filled with vivid colour and extravagant, haunted set pieces, Kill, Baby… Kill! is typical of Bava’s lavish approach to storytelling. The winter fog hangs low over the ground; even the gothic walls of the town’s mansions and houses won’t keep out the cold or its spectres for long.
Whistle and I’ll Come to You (1968)
Director Jonathan Miller
Whistle and I'll Come to You (1968)
Although it was broadcast in the sunny, rebellious May of 1968, Jonathan Miller’s adaptation of M.R. James’ story ‘Oh Whistle, and I’ll Come to You, My Lad’ is distinctly wintry in feel and has been retroactively labelled as an official part of the BBC’s A Ghost Story for Christmas cycle. In fact it was filmed as part of the Omnibus series, with Miller turning James’ tale – one of the reasoned coming into contact with the supernaturally unreasonable – into a psychological drama.
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