"MAXIE" is an immaterial girl, an overachiever who comes back from the dead to become immortal as a movie star. "Being dead is not so bad, but not being able to make it is worse," says Maxie, a ghostly starlet who died the night before her big screen test some 60 years ago.

Glenn Close has a dual role as the spirit and the strait-laced secretary, Jan Cheyney, whose body is invaded by the egotistical entity. (Whatever could have possessed her to take this tacky part?) Jan's supposed to grow from the experience, though in truth she is humiliated and deceived by the horny, hard-drinking ghost.

Tony-winner Mandy Patinkin shares the shame as Jan's husband, a twitty librarian whom Maxie seduces into a life-after-death menage a trois. He and Jan are steaming off wallpaper -- yuppie archeology, as it is called in certain circles -- when he discovers a message from the past: "Maxie Malone lived here. March 3, 1927. Read it and weep."

Shortly thereafter, the abrasive and somewhat chunky former flapper appears in Jan's body -- a spiritual awakening for Jan, who is sleeping at the time. When her husband comes to bed, he unknowingly enjoys an out-of- pajama experience with Maxie. This turns into a particular sore point for Jan, who becomes jealous of herself when she learns of her husband's fling.

It is a snickering, coy comedy with a chirping score that tells us right off that we are in for a perky time in this film. Cutesy sex and an embarrassed Bassett hound at bedside make this the sort of stuff you expected in the days when people slept in twin beds. It's the perfect movie for Claudette Colbert. But she's old enough to know better.