Two bumbling service station attendants are left as the sole beneficiaries in a gangster's will. Their trip to claim their fortune is sidetracked when they are stranded in a haunted house ... See full summary »
Russ Raymond, America's number one crooner, disappears and joins the Navy under the name Tommy Halstead. Dorothy Roberts, a magazine journalist, is intent on finding out what happened to ... See full summary »
Bud and Lou enlist in the army in order to escape being hauled off to jail, and soon find themselves in boot camp. To their dismay, the company's drill instructor is none other than the cop... See full summary »
A pair of bus drivers accidentally steal their own bus. With the company issuing a warrant for their arrest, they tag along with a playboy on a boat trip that finds them on a tropical island, where a jewel thief has sinister plans for them.
Two peanut vendors at a rodeo show get in trouble with their boss and hide out on a railroad train heading west. They get jobs as cowboys on a dude ranch, despite the fact that neither of ... See full summary »
Jim "Lucky" Moore (Allan Jones), an insurance salesman, comes up with a novel policy for his friend, Steve (Robert Cummings): a 'love insurance policy', that will pay out $1-million if ... See full summary »
Two bumbling plumbers are hired by a socialite to fix a leak. A case of mistaken identity gets the pair an invitation to a fancy party and an entree into high society. As expected, things ... See full summary »
Lou Costello plays a country bumpkin vacuum-cleaner salesman, working for the company run by the crooked Bud Abbott. To try to keep him under his thumb, Abbott convinces Costello that he's ... See full summary »
Two bumbling service station attendants are left as the sole beneficiaries in a gangster's will. Their trip to claim their fortune is sidetracked when they are stranded in a haunted house along with several other strangers. Written by
Daniel Bubbeo <email@example.com>
This film went into production under the title "Oh Charlie!" as Bud Abbott and Lou Costello's second feature film and follow-up to their wildly successful Buck Privates (1941). Production was completed in February 1941 just as "Buck Privates" was breaking box office records across the country, and Universal was worried that the new scare comedy had no real connection to the first hit (preview audiences reportedly asked where The Andrews Sisters were). A nervous studio decided to shelve "Oh Charlie!" and rework it at a future date and concentrated instead on pushing a new service comedy, In the Navy (1941), through production as the team's next feature. Upon completion of "In the Navy," this film went back into production in May 1941 as "Hold That Ghost" with the addition of the opening and closing nightclub scenes (which added Mischa Auer, Ted Lewis, The Andrews Sisters and musical numbers to the proceedings). The new scenes required a rewriting and reworking of the existing footage. Joan Davis, who had by that time reported to 20th Century-Fox for a role in Sun Valley Serenade (1941), was unavailable for the re-shoots and had to be written out of the new scenes (including the new nightclub finale). See more »
When Moose Matson pulls up to the gas station that Chuck and Ferdie work at, his front license plate is of a white color. But when the police are chasing him in the same car, the license plate is clearly black. See more »
The opening credits show animated figures representing Abbott and Costello being chased by a giant white flying ghost, whose body morphs into Abbott's and Costello's names and then into the title of the film. See more »
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.
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