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Whispering Ghosts (1942)

6.0
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Ratings: 6.0/10 from 42 users  
Reviews: 4 user | 5 critic

An actor who plays a detective on a radio show and his sidekick get it into their heads to try to solve a murder that had been committed several years previously.

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Title: Whispering Ghosts (1942)

Whispering Ghosts (1942) on IMDb 6/10

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Cast

Cast overview:
...
H.H. Van Buren
Brenda Joyce ...
Elizabeth Woods
John Shelton ...
David Courtiand
...
Norbert (Long Jack)
Willie Best ...
Euclid White Brown
Edmund MacDonald ...
Jerry Gilpin
Arthur Hohl ...
Inspector Norris
Grady Sutton ...
Jonathan Flack
Milton Parsons ...
Dr. Walter Bascomb
Abner Biberman ...
Mack Wolf
Renie Riano ...
Meg
Charles Halton ...
Mark Gruber
Harry Hayden ...
Conroy
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Storyline

An actor who plays a detective on a radio show and his sidekick get it into their heads to try to solve a murder that had been committed several years previously.

Plot Summary | Add Synopsis

Plot Keywords:

actor | radio | murder | See All (3) »

Genres:

Comedy | Mystery

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Details

Country:

Language:

Release Date:

23 October 1944 (Portugal)  »

Also Known As:

O Navio dos Fantasmas  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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User Reviews

 
Jolly Milton
6 September 2002 | by (brighton, ma) – See all my reviews

Whispering Ghosts boasts some interesting credits, among them screenwriter Lou Breslow, who had a flair for offbeat comedy, journeyman director Alfred Werker, who made some decent films, B producer Sol Wurtzel, and star Milton Berle. Miltie was still a few years away from his his great television success, and here plays a radio actor out to solve a murder mystery aboard a pirate ship. The supporting cast, as is so often the case in this kind of lighthearted borderline horror fare, is first rate: Brenda Joyce, John Carradine, Edmund McDonald, and another Milton, Parsons, without whom this kind of movie wouldn't seem complete. This is an agreeable comedy, not so much hilarious as pleasingly familiar in nearly every respect, as everything about it feels recycled, including the sets, and this is not in itself a bad thing, as Hollywood excelled at this kind of formula in the forties, and handled it better in this sort of cramped, intimate second feature than in bigger budgeted films. This one's done just right, not too big, not too small.


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