L'inafferrabile spettro

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 ****

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.

I watched 'Hold that Ghost' immediately after 'In the Navy' and noticed improvements in all areas. The boys, given more freedom than before and backed by some wonderful character actors, make this comedy as fresh today as when it was filmed, more than 6 decades ago. Universal, the home of horror, seemed the natural place for ghostly antics, and you'd be hard-pressed to find a dull moment in the movie.

Joan Davis was a wonderful actress and seemed to have found her natural partner in Lou. The two had same great moments together with perhaps the 'Blue Danube' sequence being the funniest. Richard Carson, in a part unlike anything he would portray a decade later, was - despite my misgivings - totally convincing as a nerd - well before that word was invented!

Olsen and Johnson of 'Hellzapoppin' fame would pay tribute to the hilarious 'Oh Chuck!' skit in their own 'Ghost Catchers' a few years later which used a similar - VERY similar! - title sequence.

This durable comedy is a favorite of Abbot and Costello fans for many reasons. it is their first non-service comedy, their first involving spooks, monsters or hauntings and their first with a strong supporting cast and "A" production values. The story-line involves Bud and Lou inheriting a haunted house from a gangster named Moose. Since the crook's loot is supposed to be hidden there--it comes complete with ghosts, a bad reputation and cryptic clues--their trip there to take possession of their property proves to be a very lively adventure.Before this portion of the narrative, there is quite a bit of fun in a nightclub, involving the Andrews Sisters, a curious "Me and My Shadow" Number with legendary Ted Lewis and a truly black partner, the Ted lewis orchestra and much more. The other passengers along for the fun ride to the new property include Richard Carlson, very good as a science specialist incredibly oblivious to the admiration and the extreme physical charms of Evelyn Ankers, hilarious Joan Davis as a perfect foil for the lead duo and the others, plus durable bad guy Marc Lawrence, hilarious Mischa Auer, Shemp Howard, Russell Hicks as the gangster's lawyer and William Davidson as Moose Matson the gangster. Look for familiar faces among the gangsters and in the nightclub scenes. The direction of this film by skilled Arthur Lubin and the screenplay by Robert Lees, Fred Rinaldo and John Grant keeps the gags coming and the pace moving. The remarkable aspect of the film is that its musical numbers and sight-gags do not impede the progress of the plot. I had never seen this film until last year; so its freshness and the luminous results of its production team were a major discovery for me. The cinematography was done by Elwood Bredell, art direction by Jack Otterson with the set decoration by the famous Russell A. Gausman, and are all outstanding achievements. The costumes by Vera West are fine and thanks to the nightclub scenes unusually varied. This B/W classic would undoubtedly have been an expensive color production later on; but in any case, the money is found, the mystery is solved, the ghosts are mostly explained, lovers are united and the laughs generated by this delightful entertainment remain in the mind--as I and other viewers of this very funny film have testified-for years to come. Not to be missed.

This combination of haunted house scares and A&C slapstick works terrifically, for several reasons--the supporting cast is first-rate, and Joan Davis proved to be the best comic foil Costello ever had, their scenes together sparkle and their chemistry is undeniable; the boys' timing, always a marvel, has seldom been better; and, as in their best film, "A&C Meet Frankenstein," the spooky elements are played exactly that way, and not for laughs, and it works as well as it did in that film. Also, it doesn't have the cheaper, rushed look that many of their later ones had, and director Arthur Lubin--responsible for some of the team's best pictures--keeps things running very smoothly. The boys showcase some of their classic routines, Joan Davis is a joy to watch, the Andrews Sisters' songs don't slow things down ("Aurora" is actually a bright, catchy little number); all combine to make this one of the best Abbott & Costello films. Don't miss it.