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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.

Arthur Lubin directs this scary comedy with Abbott and Costello inheriting a gangster's abandoned piece of property. A haunted house? Some guys have all the luck. Well paced funny script complete with stormy atmosphere. Hilarious and a little spooky. Joan Davis is a scene stealer. Others in support: Richard Carlson, Evelyn Ankers and Marc Lawrence. Classic Abbott and Costello.

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.

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.

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.