Nina's {Juliet Stevenson}life is torn apart with the unexpected death of her lover, Jamie {Alan Rickman}. Stuck in a rat infested flat and under expensive therapy, Nina's grief is suddenly stopped in its tracks when Jamie comes back into her life as a ghost. Just as Nina meets Mark, a potential suitor.

For his first feature film, director and writer Anthony Minghella chose this touching, and often funny, tale of bereavement and learning to love again. Written in the main for Stevenson to showcase her talents, its strengths lie in the actors performances, the sensitive writing and its low key moody production ethic. Often it's been tagged the British answer to the Moore/Swayze movie Ghost. That's a lazy link and a touch misleading, as this is, if anything, the anti blockbuster movie, while the respective plots bear little resemblance. And besides which, this was made quite some time before Patrick and Demi were playing slinky round the pottery wheel.

Stevenson is marvellous, she gives Nina real depth, and in one grief stricken scene she delivers one of the most believable enactments of that emotion ever put on to celluloid. Rickman shines as he gets his teeth into something outside of the bad guy roles he was {still is}known for. Watch out for a poem (La Muerta) segment shared between the two, pure class. And as Mark, Michael Maloney is hugely effective in what is the tricky third wheel role. While the impressive acting on show is boosted by Barrington Pheloung's poignant, rhythmic musical score.

There are a number of interpretations put forward as to what Truly, Madly, Deeply is about. But really it has to be down to the individual viewer to make their own deductions. What isn't in doubt is that for anyone who been deeply in love or has lost a loved one to death, this film can't fail to ignite a number of emotions. Even as the comedy takes a hold, comedy which sits nicely within the structure of the tale I might add since some critics were baffled by the blend, one just knows we are being guided to a telling point where the story finishes for the protagonists, but goes on for us viewers long after the credits have rolled. To first time viewers I say, banish any hope of Hollywood histrionics and flourishing visuals and let Minghella and his wonderful cast take you by the hand. For the rewards are there for the discerning adult. 9/10

Writer-director Anthony Minghella is best known for rather large-budget literary film adaptations such as "The English Patient," (which garnered the Best Director Oscar) and "The Talented Mr. Ripley." That is all the more reason to check out his first effort behind the camera. Originally produced for BBC television, "Truly Madly Deeply" genuinely demonstrates Minghella's meticulous touch with character relationships.

Juliet Stevenson is Nina, a translator who hasn't quite gotten over the untimely death of her cellist husband Jamie, played by Alan Rickman (who have an exquisitely natural rapport). Nina hears his voice at night -- but then he begins to appear during the day, as well. Soon, Jamie is around all the time, and, while comforting for Nina, her euphoria soon wears off, once she realizes that he is, in fact, truly gone.

Minghella distinguishes this "otherworldly" situation intellectually. While films such as "Ghost" appeal to the masses with its sappy sentimentalism, this film addresses the reality of the situation. From Nina's withdrawal after one of the most gut-wrenching grieving scenes ever at her therapist's office, to Jamie's "reappearance" and the prospect of living with a ghost and the socio-economic relevance of Latin American immigrants in London – the film is far more realistic than any of its kind. Juliet Stevenson's intelligent, vulnerable performance is quite powerful and Alan Rickman's divine rendering of the cello-playing ghost, Jamie are simply unparalleled. Anyone who has lost a love to an untimely death will surely relate to this film.

The addition of Jamie's various new ghost pals is a delightful comic relief and the new love interest character is a useful metaphor that guides her on the journey of letting go of the past and onto the future, which, when you think about it, is actually very profound. It is Minghella's skillful rendering of this material with all of its nuances, that, while fanciful, does not seem contrived, and differentiates it as a one of a kind film of its type.

Watching TRULY MADLY DEEPLY is something of a refreshing experience after sitting through the umpteenth supernatural thriller about vengeful spirits. This film offers different kinds of ghost altogether, where the afterlife is depicted as a kind of extremely dull limbo where the spirits of the dead can't fully interact with life as they knew it.

Of course, it's not really about ghosts at all, more of a meditation on grief and the ways in which people can overcome the death of a loved one. It's well made with a literate script and, if it's occasionally cheesy in its traditional romantic sub-plot, the calibre of the acting more than makes up for it.

You'll either love or hate Juliet Stevenson's performance, I think. She's pretty believable for the majority of the running time, but occasionally her acting goes so over the top that I found it embarrassing; thankfully, this doesn't happen too often. Inevitably, Alan Rickman gives the best performance in the movie, truly nuanced and engaging.

Watch out for that classic duet, a real highlight of the movie.