Film

The Man Who Could Work Miracles

A meek, materialist draper discovers he can work miracles and doesn't know what to do with the power. This 1936 British fantasy is playful and intelligent, grounded by Roland Young's befuddled performance. It's for anyone who likes their miracles with wit and restraint—no bombast, just a man figuring out the weight of omnipotence.

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It's a Wonderful Life1946

A man given a glimpse of his world unmade learns what he actually means to it. Like Fotheringay, the protagonist must reckon with power and consequence, but Capra finds genuine warmth where the fantasy raises questions.

But Sentimental in ways that can feel schmaltzy if you're not in the mood. The sentimentality is earned, but it still demands emotional surrender.

It's a Wonderful Life poster

Here Comes Mr. Jordan1941

A boxer mistakenly dead is given a second chance at life through cosmic intervention. Shares the tonal balance—comedy, fantasy, and a protagonist learning to navigate sudden, impossible circumstances with good humour.

But The plot mechanics grow baggy and repetitive by the third act. It runs out of ideas before it runs out of time.

Here Comes Mr. Jordan poster

Ghostbusters1984

Ordinary men discover they have power over the supernatural and are completely out of their depth. The tone—funny, smart, never losing sight of real peril—mirrors Fotheringay's bewilderment at what he's become.

But It's broad comedy that doesn't always work, and the effects look dated. Some stretches feel more interested in being funny than being clever.

Ghostbusters poster

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A Ghost Story2017

Both use the fantastic as a device to explore powerlessness. One is comic bewilderment at having too much power; the other is despair at having none.

A man becomes a ghost and watches his life unmade. It shares Fotheringay's core question—what is the point of extraordinary power if you can't use it to change what matters?—but approaches it with grief instead of comedy, and silence instead of dialogue.

But Deliberately slow, emotionally exhausting, almost entirely spare. If you want lightness or plot momentum, this will feel like sitting in a room with someone's sadness.

A Ghost Story poster
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The Wizard of Oz1939

A seemingly ordinary person discovers the world is far stranger and more magical than the rules they believed in. Dorothy and Fotheringay both must learn that the world doesn't work the way they thought.

But Heavy-handed in places, and the framing device hasn't aged as well as the dream sequence. Some of the darker moments feel shoehorned between musical numbers.

The Wizard of Oz poster

A Matter of Life and Death1946

Powell and Pressburger's visual fantasy about a man caught between earth and the afterlife. Genuinely imaginative, with the same dry intelligence about the supernatural that Fotheringay brings to miracles.

But The celestial courtroom sequences drift into whimsy that loses momentum. The film's ambition sometimes outpaces its execution.

A Matter of Life and Death poster

The Philadelphia Story1940

A woman forced to reckon with who she actually is beneath her self-image. The comedy and the reckoning are equally weighted, and it knows that discovering your own power can be terrifying.

But Romantic comedy template work can feel familiar if you know the genre well. It's a perfect film, which sometimes means predictable.

The Philadelphia Story poster

Spirited Away2001

A girl enters a magical world where the rules are unknown and the consequences are real. Like Fotheringay, she's dropped into a fantasy that operates by logic she must learn, with stakes that matter.

But Deliberately paced in ways that Western audiences find slow. The plot is subordinate to atmosphere and mood in ways some find frustrating.

Spirited Away poster

The Enchanted Cottage1945

A shy man and a disfigured woman discover that love can make them see each other as beautiful. Fantastical without being loud about it; grounded in character the way Fotheringay is grounded in Roland Young's ordinariness.

But The romance overshadows the fantasy elements. If you're not moved by the central couple, the film loses its argument.

The Enchanted Cottage poster

Blithe Spirit1945

A man's dead first wife returns as a ghost to wreak havoc on his second marriage. Noel Coward's wit and the light touch with the supernatural both recall Fotheringay, though this leans harder on comedy than consequence.

But The female characters exist to serve the male lead's predicament. It's funny but not particularly interested in anything beyond the surface joke.

Blithe Spirit poster

The Producers1968

Both are about men who stumble into power they don't fully understand and must watch the consequences unwind. Fotheringay is bewildered; these men are panicked. Same mirror, opposite reflection.

A man discovers a scheme that shouldn't work, that he can't believe works, and that destroys everything when it does. Mel Brooks's farce about men in over their heads with something they've unleashed, where the miracle (or disaster) won't stop.

But Deliberately trashy and crude in ways that feel dated. The energy is exhausting and the taste is optional.

The Producers poster

The Night of the Hunter1955

Both use a British actor (Laughton, Young) to embody an ordinary person caught in a world operating by rules they don't control. But where Fotheringay's world bends to wish-fulfilment, Hunter's bends toward nightmare. Same question—what happens when the world stops obeying reason?—two opposite answers.

A reverend with a knife pursues children for hidden money through a dreamlike American landscape. Charles Laughton's only directorial effort is visually extraordinary and genuinely disturbing. The fantasy is gothic and expressionist rather than whimsical, with real menace underneath.

But The tonal shifts are unsettling by design. It's a horror film dressed as a thriller, and if you want comfort or clarity, it actively refuses to provide them.

The Night of the Hunter poster

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