Vorsicht Gespenster!

This is a very funny early Abbott and Costello comedy that mixes crooks and ghosts, as Bud and Lou inherit a "haunted" roadhouse from a gangster who may or may not have stashed away a fortune somewhere on the premises. Richard Carlson and Joan Davis are also on hand. The latter is quite funny, the former isn't. Overall, this is one of the better produced A & C efforts, with a real A picture feel to it. The lazy B-style gags hadn't set in yet, and Universal was clearly putting what was for them a lot of money into this one. As a result, Hold That Ghost is not only a good comedy whodunit but also nice to look at.

It's nice to catch a break from the two recent "service films" that Bud and Lou made this time, as they go from army and navy men to playing two domestic, unsuccessful waiters-turned-gas station attendants. They unintentionally cross paths with a dying gangster and then become the heirs to his spooky old inn that just may contain a pile of hidden loot somewhere within it. What they didn't count on, however, is that the deceased had some scheming friends who are also hungry for the dough.

HOLD THAT GHOST is often considered close to the best film from Bud and Lou, but I'm not sure I would take it quite that far. It is a good, solid, comedy/spook show that plays on the old tried and true "haunted house" theme; and once more the boys are in top form to deliver the funnies as Abbott keeps trying to calm a very nervous Costello down as he encounters everything from dead bodies to ghosts to revolving rooms to moving candles. What helps boost this one up a notch, aside from the moody setting, is some able assistance from a good supporting cast. There's Richard Carlson as a timid scientist who's oblivious to the longing advances of the pretty Evelyn Ankers (from THE WOLF MAN), and the stand-out antics of Joan Davis, who's really an asset as she plays a "professional radio screamer" who's got some great moments with Lou Costello, including the aforementioned "moving candle" bit, and a charming little dance duet.

Oh yes, and the Andrews Sisters are back for a third time, but this time they're only used at the start and finish. Hey, what can we do? They were hugely popular at that time. And I must confess, I don't mind them concluding the show with one of their better tunes, "Aurora". *** out of ****

The boys inherit a spooky old house with money hidden somewhere inside. Now if only they can find the money before the bad guys do.

I love that spastic dance routine Lou does with Joan Davis. She's a perfect comedic counterpart to Costello, and for me, their bits together are the film's highlights. This is an early A&C effort, and it shows with their spirited performances. It's also one of their better screenplays. Putting them in an old dark house provides all sorts of loony possibilities, like the levitating candles and the fluffy ghost. Carlson and Ankers provide a good normal contrast to the madcap antics, but surprisingly Ankers only gets one lung-bursting scream of the sort she was famous for. Also, catch a more subdued version of the Andrews Sisters, which disappointed me since I was expecting their usual finger-snapping jive. Nonetheless, it's a solid entry for A&C fans.

Another nice early film from A&C, with a good supporting cast and the usual thickly laid on Universal atmosphere included. I've seen it maybe 10 times now over the decades with no loss of pleasure.

It has Ted Lewis and the Andrews Sisters as pleasant musical bookends to what has previously been described as a Ghosts & Gangsters tale. Add comedy and murder and that's what this is all about, the lid is firmly kept on the romance between Carlson and Ankers - and may I add, she seldom looked lovelier than in here. Favourite routines: Ferdie's bedrooms changing into gaming rooms behind his back, to Chuck's harsh disbelief; The candles moving to the spluttered "Oh Chuck! What Kept You"; the figure of speech gag finished by the gangsters arrival. Abbott got in more face slapping Costello than in other films, and although it's something that never really appealed to me it's not too bad. Joan Davis has some good lines too but wasn't fully exploited. Not in A&C's Top 5, but still a nice b&w inconsequential entertaining spooky old house comedy.

All told, good stuff for A&C fans like me - masochists who already know that they don't like 'em should really try to save themselves the 81 minutes running time + their IMDb commenting time and do the rest of us a favour.

As another reviewer mentioned, I too was unaware that there was an additional 13+ minutes edited from the televised version I had seen so often on WPIX Channel 11 in New York, so long ago as a child. That is until recently. Finally having viewed the full version as an adult, I can speculate with some understanding as to why it might have been cut from the public broadcast (though I've searched for info regarding the specifics and come up empty). That not withstanding, I highly recommend watching which ever version you can find of this funny and well made classic.

Though some more critical viewers may find many of the gags passé and/or corny in this day age, when it was released it was well received by movie goers and critics alike in such notable newspapers of the day as the New York Times and Motion Picture Herald.

Those of us young and/or old who can appreciate the type of comedy that originated during a more innocent era, should be happily delighted with this classic comedic gem from the '40s.