"The Ghost and Mrs Muir" was Herrmann's own favorite among his scores, probably because it overlaps (and shares some basic material with) the apple of Herrmann's eye, his opera Wuthering Heights.
Some other great scores:
Benjamin Frankel,
The Battle of the Bulge
Jerry Goldsmith,
Planet of the ApesJerry Goldsmith,
The Sand PebblesJerry Goldsmith,
The Illustrated ManJohn Williams,
Born on the 4th of July
Henry Mancini,
Lifeforce
R. Vaughan Williams,
Scott of the AntarcticArnold Bax,
Oliver TwistWilliam Alwyn,
Odd Man OutPhilippe Sarde,
Fort SaganneJean-Claude Petit,
The Return of the Musketeers
Arthur Bliss,
Things to ComeGeorges Delerue,
The Black Stallion ReturnsGeorges Delerue,
Agnes of GodMaurice Jarre,
The BrideBernard Herrmann,
Beneath the Twelve-Mile ReefBernard Herrmann,
White Witch DoctorBernard Herrmann,
Cape Fear (1961)Elmer Bernstein,
The Magnificent SevenMiklós Rózsa,
Ben-Hur (1959)Miklós Rózsa,
Double IndemnityMiklós Rózsa,
IvanhoeMiklós Rózsa,
Quo Vadis?Alfred Newman,
The Greatest Story Ever ToldAlfred Newman,
The Song of BernadetteAlfred Newman,
The Robe
Franz Waxman,
Prince ValiantFranz Waxman,
Sunset Boulevard
Franz Waxman,
A Place in the SunFranz Waxman,
The Story of a NunFranz Waxman,
Taras BulbaFranz Waxman,
The Spirit of St. LouisFranz Waxman,
Objective: Burma!
Hugo Friedhofer,
The Best Years of Our LivesHugo Friedhofer,
One-Eyed JacksBronislaw Kaper,
Mutiny on the Bounty (1962)Max Steiner,
The Adventures of Don Juan
Max Steiner,
The FountainheadJohn Corigliano,
Revolution
Jerry Goldsmith,
PapillonJerry Goldsmith,
Islands in the Stream (his own favorite!)
Bernard Herrmann,
The Three Worlds of GulliverBernard Herrmann,
Obsession (1976)
Bruce Broughton,
Young Sherlock Holmes
Alex North,
SpartacusAlex North,
Under the Volcano
Alex North,
DragonslayerLeonard Rosenman,
East of EdenLeonard Rosenman,
Rebel without a CauseLeonard Rosenman,
The Cobweb (Hollywood's first dodecaphonic score)
Leonard Rosenman,
The Lord of the Rings (1979, light years ahead of Howard Shores' mediocrities for the Jackson trilogy!!!)
Christopher Young,
The Nightmare on Elm Street II (positive proof that some of greatest scores are written for lousy movies)
Nino Rota,
La StradaEnnio Morricone,
Sahara (yes, the Brooke Shields clinker)
Ennio Morricone,
The Good, the Bad and the Ugly
Ennio Morricone,
The UntouchablesEnnio Morricone,
The MissionAngelo Francesco Lavagnino,
Venere ImperialeMario Nascimbene,
The VikingsMario Nascimbene,
One Million Years B.C.Maurice Jarre,
Lawrence of Arabia (which makes this bloated sand epic bearable!)
James Horner,
Willow (for which he ripped off the theme of Schumann's Rhenish Symphony(!!!), but never mind)
James Horner,
BrainstormCarl Davis,
The French Lieutenant's Woman
Dmitri Shostakovich,
The New Babylon
Dmitri Shostakovich,
The Tale of a Priest and His Servant BaldaDmitri Tiomkin,
Gunfight at the OK Corral
Dmitri Tiomkin,
The Fall of the Roman Empire
Benjamin Frankel,
Cry of the Werewolf (England's first 12-tone score)
Virgil Thomson,
Louisiana StoryEdmund Meisel,
Battleship PotemkinArthur Honegger,
Napoleon (1927)
Walter Ruttmann,
Berlin: Symphonie einer GroßstadtGeorg Haentzschel,
Münchhausen (1942)
...
...
Again, too many great scores to mention.

Thomas