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Whispering Ghosts (1942)

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Ratings: 6.0/10 from 44 users  
Reviews: 5 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)

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Cast overview:
H.H. Van Buren
Brenda Joyce ...
Elizabeth Woods
John Shelton ...
David Courtland
Norbert (Long Jack)
Willie Best ...
Euclid 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 (Stella) (as Rene Riano)
Charles Halton ...
Attorney Mark Gruber
Harry Hayden ...


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) »


Comedy | Mystery





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
See  »

Did You Know?


In the closing credits Willie Best's character name is listed as 'Euclid White,' but in his very first scene he announces his name as 'Euclid Brown.' See more »

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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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